KULTTUURIPÄÄKAUPUNKI NARRATIIVINA Euroopan Kulttuuripääkaupunki -Hankkeen Muutosten Vaikutus Hakemuksiin

KULTTUURIPÄÄKAUPUNKI NARRATIIVINA Euroopan kulttuuripääkaupunki -hankkeen muutosten vaikutus hakemuksiin

Olli Ukkola Maisterintutkielma Politiikan tutkimus Yhteiskuntatieteiden ja filosofian laitos Humanistis-yhteiskuntatieteellinen tiedekunta Jyväskylän yliopisto Syksy 2019

TIIVISTELMÄ

KULTTUURIPÄÄKAUPUNKI NARRATIIVINA Euroopan kulttuuripääkaupunki -hankkeen muutosten vaikutus hakemuksiin Olli Ukkola Politiikan tutkimus Maisterintutkielma Yhteiskuntatieteiden ja filosofian laitos Humanistis-yhteiskuntatieteellinen tiedekunta Jyväskylän yliopisto Ohjaaja: Kia Lindroos Syksy 2019 Sivumäärä: 65 + liite 104 sivua

Euroopan kulttuuripääkaupunki -hankkeen (European Capital of Culture, ECOC) uusi toimikausi sijoittuu vuosille 2020–2033. Uuden kauden alkaessa myös hankkeen muodon määrittävä uusi päätös 445/2014/EU uusine tavoitteineen ja valintakriteereineen tulee voimaan. Tämä tutkielma tarkastelee uuden päätöksen aikaansaamia muutoksia keskittymällä Galwayn kaupungin ECOC 2020 -hakemukseen, joka on tehty uuden päätöksen ehtoja vasten. Hakemusten toimiessa paitsi tittelistä käytävän kilpailun keskeisimpinä argumentaation väylinä, myös ECOC-tapahtuman sisältöä kuvaavina sopimuksina kaupungin ja Euroopan komission välillä, päätyvät ne määrittämään ECOC-tapahtumien muotoa. Tutkielma esittelee hankkeen historiaa, sen muutoksia vuosien varrella, ja miten muutokset ovat johtaneet konventioiden syntyyn hakemuksissa. Tutkielma esittelee vuosien 2020–2033 hanketta määrittävän päätöksen, sen keskeiset erot aiempiin hanketta määrittäneisiin päätöksiin, ja sen hakemuksille luomat uudet raamit. Eritelläkseen sitä, miten Galwayn hakemus toimii näiden raamien sisällä, hyödynnetään hakemuksen analyysissa kirjallisuusteoreetikko Northrop Fryen teoriaa romanttisesta narratiivista. Galwayn hakemus hyödyntää romanttista narratiivia luodakseen markkinointitekstille sopivia mielikuvia ja tarinallisuutta annettujen raamien sisällä. Hakemustekstejä rajoittavat raamit ohjaavat hakemuksia käsittelemään niitä asioita, jotka komissio on tunnistanut hankkeen heikkouksiksi. Raamit jättävät kuitenkin hakijakaupungeille huomattavasti vapautta myös oman narratiivinsa esittämiseen. Avainsanat: kulttuuripääkaupunki, Euroopan unioni, narratiivi, hakemus

SISÄLLYSLUETTELO

Tiivistelmä ...... 2

1. Johdanto ...... 4

2. Euroopan kulttuuripääkaupunki ...... 9 2.1 Historia ...... 9 2.1.1 Aktiivinen kansalaisyhteisö konventioiden haastajana ...... 17 2.2 Ristiriidat ja laastariratkaisut ...... 19 2.2.1 Kilpailu eurooppalaisuudesta ...... 20 2.3 Päätös vuosille 2020–2033 ...... 24

3. Hakemusteksti ja narratiivinen analyysi ...... 30 3.1 ECOC-hakemus ...... 30 3.2 Northrop Fryen narratiivinen analyysi ...... 31

4. Making Waves ...... 35 4.1 Rakenne, teemat ja visuaalisuus ...... 37 4.2 Narratiivi ...... 40 4.2.1 Toimija ...... 44 4.2.2 Ongelma ...... 49 4.2.3 Ratkaisu ...... 53

5. Johtopäätökset ...... 57

Lähdeluettelo ...... 62

Liite ...... 66

1. JOHDANTO

Euroopan kulttuuripääkaupunki -hanke (European Capital of Culture, ECOC) on Euroopan unionin (EU) kulttuuripolitiikan kulmakivi. Vuonna 1985 alkunsa saaneena, ja vuosittaisena tapahtumana toistuvana, on se laajuudeltaan ja pitkäikäisyydeltään ainutlaatuinen EU:n kulttuuripoliittisten intressien ajamisen väline. Pitkäikäisyytensä, jäsenmaasta jäsenmaahan kiertävän luonteensa, ja vuosien varrella tapahtuneiden muutoksien vuoksi ECOC-hankkeen täsmällinen määrittäminen on pitkälti riippuvaista siitä, minkä vuoden ECOC-tapahtumasta on kyse. Yleisenä kuvauksena hankkeen voi sanoa toteutuvan vuosittain eri valtioiden kaupungeissa kiertävänä Euroopan kulttuuripääkaupunki -tittelinä, joka velvoittaa titteliä tavoitelleen ja sen voittaneen kaupungin kehittämään ECOC-tapahtuman mittaisen kulttuuriohjelman1. Poliittisesti tarkasteltuna kulttuuripääkaupunki-titteli toimii EU:n pehmeän vallankäytön välineenä, sillä titteliä tavoitellessaan kaupungit sitoutuvat unionin määrittämiin kilpailuehtoihin ja tittelin voittajan toteuttaman kulttuuriohjelman oletetaan vastaavan sisällöltään kilpailun aikana luvattua.

Kulttuuripääkaupunki-hankkeen kohdalla kulttuuri ja politiikka linkittyvät vahvasti. Vuonna 1985 hallitusten välisenä toimintana alkunsa saanut hanke on siirtynyt unionin toiminnaksi, ja siitä on vuosien mittaan yhä selkeämmin muodostunut EU:n kulttuuripoliittisten intressien ajamisen alusta (mm. Žilič-Fišer ja Erjavec 2017, 581–582). Nykyisessä muodossaan hanketta ohjaa Euroopan parlamentin ja neuvoston päätös, joka määrittää kulttuuripääkaupungille ominaiset piirteet, tavoitteet ja keinot näiden tavoitteiden saavuttamiseksi. Hankkeen ainutlaatuisuus muuhun unionin toimintaan verrattuna on pitkälti seurausta siitä, että kulttuuripolitiikka on pitkään nähty unionin valtuuksien ulkopuolisena toimintana, ja unionin kulttuuripoliittisen aktivoitumisenkin jälkeen valtaosa kulttuuripoliittisista toimista on edelleen jäsenvaltioiden poliittisella toimintakentällä. EU:n kulttuuripoliittisten ohjelmien pienehkö lukumäärä mahdollistaakin unionin kulttuuripoliittisten intressien tarkastelun tarkastelemalla niiden ajamiselle keskeisen ECOC-ohjelman muotoa. Muutokset ECOC-hankkeessa, kuten uusin päätös 445/2014/EU, voivat osaltaan olla seurausta muutoksista EU:n kulttuuripoliittisissa intresseissä tai edustaa pyrkimystä niiden ajamisen tehostamiseen.

1 Avaan hankkeen muotoa ja siinä tapahtuneita muutoksia tarkemmin osiossa 2. 4

Tämä tutkielma tarkastelee yleisellä tasolla Euroopan unionin Euroopan kulttuuripääkaupunki -hanketta, keskittyen erityisesti hankkeen viimeisimpään muutokseen, vuosille 2020–2033 annettuun toiminnan määrittävään päätökseen 445/2014/EU. Sen sijaan, että tarkastelisin päätöstekstiä sellaisenaan, lähestyn päätöksen tavoittelemaa muutosta tarkastelemalla sen ohjeiden mukaan tehtyä ECOC-hakemusta (bid book). ECOC-hakemus on se teksti, jolla yksittäinen kaupunki osallistuu kulttuuripääkaupunki-tittelistä käytävään kilpailuun. Hakemusteksti soveltuu päätöksen tarkasteluun paitsi siksi, että se on tehty päätöksen määrittämiä arviointikriteereitä vasten ja arvioitu niiden perusteella, myös siksi, että hakemusteksti toimii sopimuksena Euroopan komission ja ECOC- kaupungin välillä. ECOC-kaupunki ja komissio pyrkivät tämän sopimuksen ehtoja ja sisältöä muokkaamalla ajamaan omia intressejään, jotka ovat vain osittain päällekkäisiä. Tarkastelun kohteeksi valitsin vuonna 2020 ECOC-tapahtumaa järjestävän Irlannin Galwayn hakemuksen.

Tutkimuskysymykseni on: Miten vuosille 2020–2033 annetun päätöksen muutokset näkyvät yksittäisessä ECOC-hakemuksessa?

Tutkimuskysymykseen vastatakseni tarkastelen ECOC-hanketta yleisellä ja erityisellä tasolla. Yleisen tason tarkastelussa erittelen hankkeen historiaa eli hankkeessa vuosien varrella tapahtuneita muutoksia. Muutoksia tarkastellessani nostan esille niin EU:n taholta tehdyt hanketta määrittävät päätösmuutokset kuin yksittäisten ECOC-tapahtumien aikaansaamat muutokset hankkeen määrittämisessä. Hankkeen tarkastelu yleisellä tasolla mahdollistaa ECOC-tapahtumissa toistuvien konventioiden tunnistamisen. Erityisen tason tarkastelussa keskityn taas Galwayn hakemukseen, jota tarkastelen suhteessa niin päätösmuutoksiin kuin vakiintuneisiin konventioihin. Yleisen tason tarkastelu siis mahdollistaa erityisen tason tarkastelun.

Eurooppalaisten arkeen vuosittain jaettava titteli vaikuttaa useimmin vasta silloin, kun tittelin saanut kaupunki alkaa toteuttaa vuoden mittaista kulttuuriohjelmaansa. Varsinaista ECOC-vuotta edeltää kuitenkin useamman vuoden mittainen suunnittelu, ja useimmissa tapauksissa kaupunkien välinen kilpailu tittelistä. Tämän kilpailun osana tehtävät ECOC-hakemukset ovat kiinnostavia niiden toimiessa unionin ja hakijakaupungin intressien välimaastossa. Unionin intressien, jotka ilmenevät päätöstekstin hakemuksille nimeämissä arviointikriteereissä, yhteensopivuutta titteliä tavoittelevien kaupunkien intressien kanssa arvioi nykyisin pääosin unionin elinten nimittämistä asiantuntijoista koostuva arviointiraati. Arviointiraadilla ollessa huomattava suositteluvalta tittelin määräytymisessä, voi se aikaansaada huomattavia muutoksia hankkeessa valitsemalla konventioita välttäviä hakemuksia.

Galwayn hakemuksen analysoinnin välineenä hyödynnän Northrop Fryen tulkintaa romanttisesta narratiivista. Päädyin narratiivisen metodin valintaan siksi, että Galwayn hakemuksessa on sitouduttu vahvasti tarinanomaiseen kerrontaan. Tämä on osittain seurausta siitä, että vahva narratiivi on paitsi viihdyttävä myös vakuuttava argumentaation väline. Hakemus on tavoitteellinen teksti, jolla pyritään vakuuttamaan valinnan tekevä raati. ECOC-hankkeen kohdalla narratiivisuus on tämän lisäksi myös luonteva valinta hakemustekstin perustaksi. Corina Turşien (2015, 72) mukaan ECOC-hankkeen keskiössä on juuri kaupunki-identiteetin ja -historian esittäminen uudessa narratiivissa:

“ECoC is about cities re-inventing their identities, re-narrating their history in a European context.”

Suzana Žilič-Fišer ja Karmen Erjavec (2017, 582) näkevät ECOC-hankkeen poliittisena paitsi EU:n ja hakijoiden risteävien intressien vuoksi, myös siksi, että hanke voi toimia poliittisen muutoksen katalyyttina valituissa kaupungeissa:

“Moreover, the planning and realisation of each ECoC programme are political questions since they are a product of struggles among competing actors with different interests and agendas. What kinds of political effects do ECoC programmes have on the politics of host cities?”

Hankkeen poliittisuus ei siis rajoitu pelkkään poliittisilta instituutioilta tulevaan ohjeistukseen tai tittelistä käytävään kilpailuun. ECOC-tapahtumalla on myös potentiaali aikaansaada poliittista muutosta tittelin voittaneessa kaupungissa, usein tavoilla, joita hakemus ei ennustanut.2 Poliittisuus ilmenee myös siinä, miten yksittäiset ECOC-tapahtumat tulkitsevat ja soveltavat ECOC-hankkeen ohjeistusta ja kilpailutilannetta, luoden näin uusia toiminnan mahdollisuuksia.

Tämän tutkielman ytimessä on potentiaali muutokseen. Niin ECOC-hankkeen historia kuin Galwayn hakemus itsessäänkin sisältävät joukon esimerkkejä siitä, miten annetun ohjeistuksen ja vakiintuneen kilpailutilanteen sisällä voi toimia luovasti, ja näin aikaansaada uusia toimintamahdollisuuksia. Muutoskeskeisyys värittää tutkielman tarkastelua alusta loppuun. Lähden tarkastelemaan ECOC- hanketta dynaamisena projektina, jonka historiaa halkoo joukko keskeisiä taitekohtia, joiden kautta

2 Tästä esimerkkejä osiossa 2.1.1. 6 hanke on muuttanut muotoaan. Tarkastelen hankkeen toteutukseen syntyneitä konventioita, mutta myös sitä, miten näistä poikkeaminen on johtanut muutokseen. Eritellessäni Galwayn ECOC- hakemusta en lähde lukemaan sitä niinkään vastauksena päätöksen 445/2014/EU antamaan ohjeistukseen, kuin pyrkimyksenä omanlaisensa narratiivin rakentamiseen ohjeistuksen antamien raamien sisällä. Tarkastelen ECOC-hakemusta tekstinä, jossa kaksi omia intressejään ajavaa entiteettiä kohtaa: EU:n kulttuuripoliittiset intressit annetuissa raameissa ja arvostelukriteereissä, ja kaupunkien omat, usein kehitykseen, kasvuun ja osallistamiseen linkittyneet intressit raamien sisälle tuotetussa tekstissä.

Tutkielman analyysin pääasiallinen tavoite on Galwayn hakemuksessa rakennetun narratiivin tarkastelu suhteessa vuosille 2020–2033 annettuun päätökseen. Narratiivin tarkastelu mahdollistaa tutkimuskysymykseen vastaamisen: Miten vuosille 2020–2033 annetun päätöksen muutokset näkyvät yksittäisessä ECOC-hakemuksessa? Tähän tutkimuskysymykseen vastaamiseksi on selvitettävä joukko siihen liittyviä asioita.

Pyrin esittelemään tutkimuskysymyksen käsittelyyn vaadittavat taustat ECOC-hankkeen yleisen tason tarkasteluun keskittyvässä osiossa 2. Tässä osiossa määritän ensin mitä ECOC-hanke pitää sisällään, ja miten se on kehittynyt nykyiseen muotoonsa. Tämän kautta avaan sitä tekstiperinnettä, johon Galwayn hakemuskin kuuluu, ja annan laajempaa kontekstia hakemuksen tarkastelun mahdollistamiseksi. Hyödynnän tässä hanketta ohjaavia EU:n dokumentteja. Lähestyn hanketta myös tutkimuskirjallisuuden kautta, nostaen esille hankkeesta tehtyjä huomioita ja sen osakseen saamaa kritiikkiä niiltä osin, miltä ne tekevät intressiristiriitojen tunnistamisesta ja ymmärtämisestä mahdollista. Lopetan toisen osion päätöksen 445/2014/EU tarkasteluun, vertaamalla sitä edeltäneeseen päätökseen ja lukemalla sitä vastauksena hankkeelle annettuun kritiikkiin.

Pohjustan analyysiäni osiossa 3 lyhyellä kuvauksella ECOC-hakemuksista tekstityyppinä, avaten niiden tavoitteita ja sitä prosessia missä ne kirjoitetaan. Tämän lisäksi kuvaan lyhyesti niitä Northrop Fryen romanttisen narratiivin tulkinnan välineitä, joita hyödynnän analyysissäni.

Osiossa 4 siirryn Galwayn hakemuksen analyysiin. Analyysissa keskityn tarkastelemaan hakemusta osana laajempaa ECOC-hanketta, jolla on vuosikymmenien historia ja vakiintuneita konventioita. Erittelen hakemusta niiltä osin, miltä se seuraa näitä konventioita, ja nostan esille ne kohdat, joissa se poikkeaa niistä. Tarkastelen tutkimuskysymyksen mukaisesti sitä, miltä osin poikkeamat

7 konventioista selittyvät ECOC-hankkeessa tapahtuneilla muutoksilla, ja miltä osin hakijakaupungin omilla tavoitteilla.

Tutkimuksen aihe on ajankohtainen, sillä vaikka päätös 445/2014/EU annettiin jo vuonna 2014, järjestetään ensimmäiset sen asettamien raamien sisällä toimivat ECOC-tapahtumat vasta vuonna 2020. Galwayn vuoden 2020 ECOC-tapahtuma tulee siis olemaan toinen kahdesta uuden päätöksen ensimmäisenä voimassaolovuotena toteutettavasta ECOC-tapahtumasta. Tässä roolissa sillä on poikkeuksellinen mahdollisuus vaikuttaa siihen, miten vuosien 2020–2033 ECOC-tapahtumat vastaavat hankkeessa tapahtuneisiin muutoksiin. On kuitenkin olennaista huomata, että varsinainen ECOC-tapahtuma on rajattu tämän tutkimuksen ulkopuolelle tarkastelun keskittyessä paitsi tapahtumaa myös varsinaista kulttuuripääkaupungin valintaa edeltävään ECOC-hakemukseen.

Kotimaisen kontekstin kannalta on olennaista tietää, että Suomessa on järjestetty kaksi ECOC- tapahtumaa, ensimmäinen Helsingissä vuonna 2000 ja toinen Turussa vuonna 2011. Suomen kolmas ECOC-tapahtuma järjestetään vuonna 2026, ja tapahtuman hakuprosessi käynnistyi vuoden 2019 keväällä (Opetushallitus 2019).

2. EUROOPAN KULTTUURIPÄÄKAUPUNKI

Euroopan kulttuuripääkaupunki on vuosittain jaettava titteli. Tittelin saavat valtiot on määritelty vuoteen 2033 asti, mutta tittelin päätyminen yksittäiselle kaupungille näiden valtioiden sisällä tapahtuu avoimen kilpailun kautta. Tittelistä kilpailevat kaupungit suunnittelevat vuoden mittaisen kulttuuriohjelman, joka toimii heidän hakemuksenaan ECOC-kaupungiksi. Kirjoitushetkeen mennessä titteli on hankkeen historian aikana jaettu yli 50 kaupungille. Verkkosivuillaan (European commission 2018) ECOC-hanke määritellään seuraavasti:

Euroopan kulttuuripääkaupunki -hanke on suunniteltu - Korostamaan kulttuurien rikkautta ja diversiteettiä Euroopassa - Juhlistamaan niitä kulttuurillisia ominaisuuksia, jotka eurooppalaiset jakavat - Kasvattamaan Euroopan kansalaisten kokemusta jaettuun kulttuurialueeseen kuulumisesta - Edistää kulttuurin osuutta kaupunkien kehityksessä Tämän lisäksi kokemus on osoittanut tapahtuman tarjoavan loistavan mahdollisuuden: - Kaupunkien elvyttämiseen - Kaupunkien kansainvälisen profiilin nostamiseen - Kaupunkikuvan parantamiseen asukkaiden silmissä - Kaupungin kulttuurin elävöittämiseen - Turismin kasvattamiseen

Ennen kuin lähden käsittelemään näitä hankkeen nykyisiä tavoitteita, koen tarpeelliseksi kuvata hankkeen kehitystä. Historiallinen konteksti osoittaa paitsi miten nykyisiin tavoitteisiin on päädytty, myös sen, miksi Galwayn hakemus sijoittuu hankkeelle keskeiseen taitoskohtaan.

2.1 Historia

ECOC-hanke on yli 30 vuotisen historiansa aikana kokenut huomattavia muutoksia. Tuuli Lähdesmäki (2014a, 481) kuvaa hankkeen alkaneen kulttuurifestivaalina, josta kehittyi vuoden mittainen urbaani tapahtuma. Beatriz García ja Tamsin Cox (2013, 37) menevät kuvauksessaan pidemmälle, väittäessään ECOC-hankkeen kehittyneen halutuksi kehitystyökaluksi, joka täyttää niin EU:n kuin ECOC-kaupunkien tavoitteita:

”Over the last 28 years, the ECoC initiative has far outgrown its original goal, evolving into a versatile and highly coveted development tool that encourages and has proven capable of achieving a number of objectives, not only for EU, but also for the host cities themselves – –.”

ECOC-hanke on historiansa aikana kokenut niin suuria muutoksia skaalassa, tavoitteissa ja toteutuksessa, ettei olisi mahdotonta puhua useammasta eri hankkeesta, jotka ovat vuosien mittaan korvanneet edeltäjiään. Euroopan yhteisön ja unionin päätökset kuitenkin linkittävät nämä erilaiset hankkeet yhdeksi ketjuksi, ja 30 vuotiseen historiaan sitoudutaan myös hankkeen virallisessa retoriikassa. Siksi koen tähdelliseksi tarkastella hanketta dynaamisena prosessina, jonka muutoksista keskeisimmät ovat seuranneet tiettyjä taitekohtia. Näitä muutokselle keskeisiä taitekohtia on useita, ja esittelen niistä olennaisimmat seuraavaksi. Ennen tätä on kuitenkin tarpeellista tunnistaa muutoksiin johtaneet syyt.

Ensinnäkin EU:n kulttuuripoliittinen toimintakenttä ja sen kulttuuripoliittiset intressit ovat muuttuneet vuodesta 1985. Tämän seurauksena ECOC-hanke on mukautunut ylhäältä alas suunnattuun päätöksentekoon useaan otteeseen. Toisekseen jokainen ECOC-titteliä tavoitellut kaupunki on kyennyt tulkitsemaan ja toteuttamaan hanketta omalla tavallaan. Kuten EU:n kulttuuripoliittinen toimikenttä, myös kaupunkien toimikenttä ja siitä tehtävät tulkinnat ovat muuttuneet huomattavasti ECOC-hankkeen synnyn ja tämän päivän välillä. Erityisesti uudet tulkinnat hankkeen sisältämästä potentiaalista ovat johtaneet alhaalta ylöspäin suunnattuun muutokseen.

The European City of Culture -hanke3 syntyi vuonna 1985 Euroopan yhteisön kulttuuriministerien kokouksessa Kreikan kulttuuriministeri Melina Mercourisin aloitteesta (85/C153/O24). Mercouris perusteli tarvetta EY-maiden hallitustenväliselle kulttuurilliselle yhteistyölle sillä, että kulttuurin, taiteen ja luovuuden tulisi osoittaa olevan teknologian, kaupan ja talouden kanssa yhtä arvokkaita. Hankkeen pyrkimyksenä oli kaupungin, alueen ja maan kulttuurin esille tuominen, sekä muiden jäsenvaltioiden kulttuurillinen osallistaminen tapahtumiin. Jäsenmaille tarjottiin aakkosjärjestyksessä mahdollisuutta osallistua hankkeeseen nimittämällä kaupunki tittelin saajaksi. (Palmer 2004a, 41).

3 Hankkeen nimi muuttui ”Eurooppalaisesta kulttuurikaupungista” ”Eurooppalaiseksi kulttuuripääkaupungiksi” päätöksen 1419/1999/EC myötä, eli toimikaudesta 2005–2019 alkaen. 4 Päätöslauselma saatavilla osoitteessa https://eur-lex.europa.eu/legal- content/EN/TXT/PDF/?uri=CELEX:41985X0622&from=LV 10

Aakkosjärjestyksessä ei täysin pitäydytty, osittain sen vuoksi, että hankkeen rahoitus oli täysin järjestäjämaan vastuulla. Toinen syy aakkosjärjestyksestä poikkeamiselle oli lyhyt valmistautumisaika, jonka vuoksi titteli jaettiin kaupungeille, joiden kulttuurillinen toiminta oli valmiiksi laajaa. Nämä olivat keskeisiä syitä sille, miksi läntisen Euroopan suuret kaupungit olivat erityisen edustettuina hankkeen alkuvuosina. (Turşie 2015, 74). Viisi ensimmäistä valittua kaupunkia olivat Ateena (1985), Firenze (1986), Amsterdam (1987), Berliini (1988) ja Pariisi (1989) (Palmer 2004a, 41). Ron Griffiths (2006, 417) nimittää näitä kaupunkeja tunnustetuiksi taiteellisiksi ja kulttuurillisiksi keskuksiksi. Nicole Immler ja Hans Sakkers (2014, 7) viittaavat Griffithsin nimitykseen käyttäessään kaupungeista ilmaisua ”luonnolliset kulttuuripääkaupungit”5.

Glasgow’n valinta vuonna 1990 oli ensimmäinen ECOC-hankkeen keskeisistä taitekohdista, eli hanketta muokanneista ja sen dynaamisen luonteen osoittavista tapahtumista. Aiempien kulttuurikaupunkien ollessa ”tunnustettuja kulttuurillisia keskuksia”, oli Glasgow vanha teollisuuskaupunki, jossa käytiin läpi siirtymää jälkiteollisuuteen. Kaupungissa esiintyi siirtymäkaudelle tyypillisiä taloudellisia ja sosiaalisia ongelmia, jotka olivat johtaneet kaupunkikuvan heikkenemiseen. Glasgow’ssa kulttuurikaupunki-tapahtuma nähtiin keinona määritellä kaupunki uudelleen kulttuurin kautta. Aiemmista hankkeista poikkeavan laajan yksityisen ja julkisen sektorin yhteistyön kautta pyrkimyksenä oli samalla tavoitella taloudellista kasvua infrastruktuurihankkeiden ja kansainvälisen pääoman houkuttelun kautta. ECOC-hanke ja kaupungin kulttuurillisen toiminnan kehittäminen nähtiin keinona vastata taloudellisiin ja sosiaalisiin ongelmiin.

Glasgow’n tapahtuman näyttäydyttyä jälkikäteen onnistumisena sekä kaupunki-imagon muuttamisessa, että taloudellisten tavoitteiden saavuttamisessa, näkivät monet muut teollisuus- ja satamakaupungit ECOC-hankkeen uudella tavalla sijoituksena pidemmän ajan kehitykseen. (Griffiths 2006, 417–418; Immler ja Sakkers 2014, 7). Glasgow’n kulttuurikaupunki-tapahtuman pitkän aikavälin onnistumiset on myöhemmin kyseenalaistettu esittämällä ne kosmeettisina, jolloin samat keskeiset siirtymävaiheen ongelmat säilyivät uuden pinnan alla (O’Callaghan 2012, 188). Tästä kritiikistä huolimatta on selvää, että vuosi 1990 oli taitekohta niissä tulkinnoissa, mitä kulttuurikaupunki-hankkeen potentiaalista tehtiin. Glasgow’n esimerkki siis muutti ECOC-hanketta nostamalla taloudellisten intressien ajamisen ja kaupunkikuvan kehittämisen potentiaalin sen keskiöön.

5 Alkuperäisessä tekstissä: ”– – capitals of culture by their very nature”. 11

Glasgow’n päätös hyödyntää kulttuurikaupunki-hanketta alueellisen kehityksen suunnan muuttajana on yksi esimerkki kulttuurin ja luovuuden käsitteiden ympärillä tapahtuneesta muutoksesta. Luovan talouden ja kulttuuritalouden käsitteiden vakiintuminen on myös osa tätä laajempaa muutosta, jossa kulttuurillisen ja taloudellisen kehityksen välillä nähdään korrelaatio. (Lähdesmäki 2014a, 485). Griffithsin (2006, 418) mukaan Yhdistyneet kuningaskunnat tukivat Glasgow’n hakemusta juuri sen taloudellisten ja imagollisten tavoitteiden vuoksi. Tämän lisäksi Glasgow’n tavoite rahoituksen hankkimiseen sekä julkisilta että yksityisiltä toimijoilta vastasi vallitsevaa julkisen ja yksityisen yhteistyön kulttuuria (ibid.).

Lluís Bonet ja Emmanuel Négrier (2011, 576–578) esittävät 1980-luvulta alkaen kulttuuripoliittista toimikenttää hallinneen uudenlaiset tavoitteet. Hallitsevana trendinä on ollut taloudellinen ja kulttuurinen kehitys. Tavoitteiden muuttuminen on seurausta siitä, että harjoitetun kulttuuripolitiikan täytyy huomioida laajempi sosiaalinen ja poliittinen muutos. Tässä laajemmassa muutoksessa taloudelliset intressit ja kehitysusko korostuivat, ja niiden huomioiminen muita yhteiskunnan alueita tarkastellessa vakiintui käytännöksi. Kulttuuripolitiikan sisäisiin (intrinsic) tavoitteisiin on tällä aikakaudella kuulunut kulttuurituotannon kehittäminen, sekä kulttuurillisen monimuotoisuuden ja kansainvälisen kulttuurillisen yhteistyön ajaminen. Kulttuuripolitiikan välineellisiin (extrinsic) tavoitteisiin taas on kuulunut täystyöllisyyden, kilpailullisuuden ja talouskasvun tavoittelu, sekä kehitys (development) yhteistyön kautta. (ibid.). Talouskehityksen esittäminen kulttuurillisen kehityksen sivutuotteena on jättänyt jälkensä kulttuuritoimijoiden hyödyntämään retoriikkaan. Esimerkiksi Pohjoismaissa talouden vahvempi linkittyminen kulttuuriin 1990-luvulla toi onnistuneen kulttuuripolitiikan mittareiksi kulttuurin ”kuluttajien” määrät ja sen taloudellisten vaikutusten arvioinnin (Häyrynen 2013, 629–630). Myös Charles Landryn (2000) luova kaupunki -käsitteen yleistyminen on johtanut muutoksiin kaupunkisuunnittelussa ja -retoriikassa. Landry esittää, että nopeasti muuttuvassa maailmassa menestyneitä kaupunkeja yhdistää se, että ne ovat onnistuneesti tukeneet luovuutta, joka puolestaan on mahdollistanut niiden uudistumisen. Landry näkee kulttuurin olevan sekä linkittynyt luovuuteen, että resurssi, joka jää usein kaupunkien toiminnassa hyödyntämättä. Menestyäkseen kaupunkien pitäisikin tukea ja tuoda esille kulttuurisia erityispiirteitään, sillä menestyksen avain on luovuutta tukevien rakenteiden kehittäminen ja ylläpitäminen. (ibid.). Talouden ja kulttuurin linkittyminen onkin ollut 1980-luvulta asti monitasoista, ja tätä vahvistuvaa linkittymistä on kuvattu usein sekä julkista, yksityistä että kolmatta sektoria edistävänä muutoksena.

EU:n kulttuuripoliittinen toimikenttä muuttui ratkaisevasti Maastrichtin sopimuksen (1992) myötä. Sopimus antoi sekä laillisen perustan EU:n kulttuurilliselle toiminnalle, että määritti artiklassa 128 yhteisen kulttuurillisen perinnön esille tuomisen yhdeksi yhteisön tavoitteeksi (García ja Cox 2013, 41). Emilia Palosen (2010, 100) mukaan tämä mahdollisti siirtymän implisiittisestä kulttuuritoiminnasta eksplisiittiseen kulttuuritoimintaan. Implisiittisen toiminnan aikakautena EU:n poliittisella toiminnalla saattoi olla kulttuurillisia vaikutuksia, mutta kulttuurillisen toiminnan sallivan lainsäädännön puuttuessa eivät kulttuurilliset seuraukset voineet olla poliittisen toiminnan perusteena. Maastrichtin sopimuksen myötä EU saattoi myös nimetä harjoittamansa politiikan kulttuurilliset päämäärät. (ibid.; Shore 2000, 45). Kulttuuripoliittisen muutoksen tarkastelu siirtymänä implisiittisestä eksplisiittiseen on hyödyllinen näkökulma sen vuoksi, että se tunnustaa myös Maastrichtin sopimusta edeltäneiden kulttuuripoliittisten intressien ja toimien olemassaolon.

Komission varhaiset kulttuuripoliittiset tavoitteet tiivistyvät hyvin seuraavassa lainauksessa komission ”1st report on the consideration of cultural aspects in European community action” -raportista:

”– – cultural policy must make a contribution to strengthening and to expanding the influence of ‘European model of society built on a set of values common to all European societies’ (Opinion of the Commission on convening the 1996 Intergovernmental Conference).” Commission of the European communities (1996, 92)

Lainauksessa eurooppalaisuuden keskipisteeksi nimettiin jaetut arvot, joiden ympärille jaettu eurooppalaisen yhteiskunnan malli on rakennettu. Tarve kulttuuripolitiikan valjastamiseen yhteiskuntamallin vahvistamiseksi ja laajentamiseksi viittaa kuitenkin siihen, ettei komissiossa nähty jaettuja arvoja joko staattisen pysyvinä, tai ainoina eurooppalaisen mallin rakennuspaloina. Cris Shore (2000, 82) esittää vuoden 1992 olleen taitekohta myös siinä, millä keinoin komissiossa pyrittiin ajamaan eurooppalaisia arvoja, eurooppalaista kulttuuria ja eurooppalaisuutta unionin kansalaisten parissa. Shoren mukaan ennen vuotta 1992 komissio luotti poliittisen eliitin toimivan esimerkillisenä ”etujoukkona”, jonka eurooppalaistumista kansalaiset seuraisivat. Vuoden 1992 jälkeen komissio alkoi tukeutua enemmän kaupallisen markkinoinnin keinoihin, eurooppalaisuuden idean myymiseksi eurooppalaisille. (ibid.).

Maastrichtin sopimuksen aikaansaama muutos EU:n kulttuuripoliittisessa kentässä näkyi ECOC- hankkeessa ensimmäistä kertaa Euroopan parlamentin ja neuvoston vuoden 1999 päätöksen (1419/1999/EC6) myötä. Päätös määritti ECOC-toimintaa vuosille 2005–2019. Hankkeen ollessa tähän mennessä unionin tarjoamissa raameissa toteutettua hallitustenvälistä yhteistyötä, tuli siitä päätöksen myötä yhteisön toimintaa Euroopan kulttuuripääkaupunki -nimen alla. Toiminnan tavoitteeksi asetettiin Euroopan kulttuurien rikkauden, moninaisuuden ja yhteisten piirteiden esille tuominen, sekä pyrkimys auttaa Euroopan kansalaisia tutustumaan paremmin toisiinsa. (Euroopan komissio 1999). Kulttuurien moninaisuuden nimeäminen eurooppalaisuuden piirteeksi on keskeistä, sillä monikulttuurisuus ei esiintynyt useissa varhaisissa kulttuuripääkaupunki-tapahtumissa. On olennaista muistaa, että ”United in diversity” -motosta huolimatta diversiteetti on ajallisesti ollut EU:n retoriikan keskiössä varsin lyhyen ajan. Diversiteettistä tuli EU:n keskeinen arvo vasta unionin kulttuuripoliittisen aktivoitumisen myötä (Immler ja Sakkers 2014, 10–11). Se, että kirjoitushetkellä diversiteetti tunnistetaan unionin keskeiseksi tavoitteeksi ja piirteeksi, on osoitus siitä, että EU:n kulttuuripoliittiset toimet ovat onnistuneet diversiteetin roolin korostamisessa. Vuoden 1999 päätöksen myötä tittelin hakijoiden pyydettiin vastaavan, miten ne tuovat esille alueellista kulttuuria, edistävät kulttuurien välistä vuoropuhelua, ja tukevat ja kehittävät luovaa työtä, jota kuvattiin kulttuuripolitiikan keskeiseksi osatekijäksi. Suunnittelu- ja arviointiperusteita listaavassa liitteessä esille tuotiin myös taloudelliset intressit, kuten ECOC-tapahtuman myötävaikutus työllisyyteen ja matkailuun, sekä kulttuuriperinnön kestävän hallinnoinnin ja turistien toivomusten yhteensovittaminen paikallisen väestön toivomuksiin. Myöhempien päätösten käsittelyä varten on olennaista huomauttaa, että jo tässä päätöksessä nostettiin esille kaupunkien väestön liikkeelle saamisen ja osallistamisen olennaisuus, jota perusteltiin pitkäkestoisen yhteiskunnallisen vaikutuksen aikaansaajana. (Euroopan komissio 1999).

Poikkeamiset yhden kaupungin nimittämisestä kullekin vuodelle alkoivat vuonna 2000, jolloin vuosituhannen vaihtumisen yhteydessä yhdeksän kaupunkia jakoivat City of Culture -tittelin. Vuosien 2000–2009 välillä titteli oli joko yhdellä tai kahdella kaupungilla joka vuosi, mutta vuonna 2003 aiempaan, vuoden 1999 päätökseen tehdyn muutoksen7 myötä vuodesta 2009 eteenpäin titteli jaettiin kahden kaupungin välillä joka vuosi (Euroopan komissio 2003). Muutos on tulkittavissa yhdeksi EU:n laajentumisen seuraukseksi erityisesti sen vuoksi, että aiemmin määritettyjen tittelin saajien rinnalle nostettiin valtioita itäisestä Euroopasta, Balkanilta ja Välimereltä. ECOC-titteli toimi tunnustuksena uudemmille EU-maille, nostaessaan niiden kaupunkeja läntisen Euroopan kaupunkien

6 Päätös saatavilla osoitteessa https://eur-lex.europa.eu/legal-content/FI/TXT/PDF/?uri=CELEX:31999D1419&from=EN 7 Muutosehdotus saatavilla https://eur-lex.europa.eu/legal-content/FI/TXT/PDF/?uri=CELEX:52003PC0700&from=EN 14 rinnalle. Useamman tittelin jakaminen vuosittain taas nopeutti tätä tunnustusprosessia. Samalla tittelin jakaminen entisiin sosialistisiin valtioihin ja kehittyviin demokratioihin on myös keino ohjata näiden maiden kehitystä.

Lähdesmäki (2014a, 483) on tunnistanut entisten sosialististen valtioiden seuraavan Glasgow’n mallia, ja toteuttavan ECOC-tapahtumansa yhteydessä muun muassa infrastruktuurihankkeita. Hankkeen taloudellinen potentiaali nähdään keinona eurooppalaistua. ”Eurooppalaisen standardin” saavuttaminen on esiintynyt jopa näiden kaupunkien virallisissa tavoitteissa, joten idän ja lännen yhdenmukaistaminen ei vaikuta olevan ainoastaan EU:n ajamaa politiikkaa. ECOC-titteli näyttäytyy ainakin hakemusretoriikassa itäisen Euroopan kaupungeille väylänä oman eurooppalaisuutensa legitimoimiseen. (ibid.). Eurooppalaistuminen ”eurooppalaista standardia” mallintamalla on ilmiselvässä ristiriidassa EU:n ja ECOC-hankkeen korostaman eurooppalaisuuden diversiteetin kanssa. Eurooppalaistuminen voi kuitenkin Itä-Euroopan kaupungeille tarkoittaa vain eurooppalaisen elintason saavuttamista infrastruktuurihankkeiden avulla, vaikka ne hakemusretoriikassaan sitoutuisivatkin hankkeen vaatimaan eurooppalaisia yhdistävien kulttuuripiirteiden korostamiseen. Maria Mälksoo (2009, 655) kuvaa Itä-Euroopan maiden ”eurooppalaistumisen politiikkaa” samanaikaisesti tapahtuvaksi hegemonisen eurooppalaisuuden haastamiseksi, että sen tunnustuksen tavoitteluksi. Tätä kuvausta hyödyntämällä Itä-Euroopan ECOC-hankkeita voi tarkastella eurooppalaisuuden tunnustuksen tavoitteluna, jossa hakemusretoriikan ulkopuolella hankkeen tavoitteita haastetaan keskittymällä sen taloudelliseen potentiaaliin.

Aiempi päätös vuosien 2005–2019 ECOC-tapahtumista (1419/1999/EC) korvattiin vuonna 2006 päätöksellä vuosien 2007–2019 ECOC-tapahtumista (1622/2006/EC8). Muutosta perusteltiin muun muassa tarpeella Robert Palmerin (2004ab) raportin esille nostamien ongelmakohtien käsittelemiseen, esimerkiksi ajamalla ja valvomalla pitkän aikavälin kulttuurillista kehitystä. Päätös loi vaiheittaisen valintaprosessin, jossa raati ennen lopullista päätöstä ensin sekä rajaa hakijoiden joukkoa, että suosittelee muutoksia valittuihin hakemuksiin. Valintaraadin kokoonpano määrättiin jakautuvaksi kuudesta jäsenvaltion ja seitsemästä EU:n instituutioiden nimittämästä asiantuntijasta. Valvontaa lisättiin seuraamaan valmisteluiden ja hakemuksen yhdenmukaisuutta, mutta myös arvioimaan edellisen vuoden ECOC-tapahtumia jälkikäteen. Hankkeen rahoitus oli tähän päätökseen asti puhtaasti hakijoiden vastuulla, mutta tämä päätös perusti Melina Mercouri -palkinnon, joka jaettiin vuosittain voittajille. Melina Mercouri -palkinto ei kuitenkaan siirtänyt rahoitusvastuuta

8 Päätös saatavilla https://eur-lex.europa.eu/LexUriServ/LexUriServ.do?uri=OJ:L:2006:304:0001:0006:EN:PDF 15

EU:lle, sillä ECOC-tapahtumien budjetit ovat poikkeuksetta moninkertaisia palkintoon nähden. ECOC-valintaprosessin valmistumisineen kestäessä vuosia, korvasi tämä päätös aiemman päätöksen todellisuudessa vasta vuodesta 2010 alkaen. (European commission 2006).

1998 Päätös 92/C336/02 tulee 2010 Päätös voimaan: 1622/2006/EC tulee ensimmäinen voimaan: Kaupunki ja 1985 The European hakemuskriteereiden kansalaiset kriteeriksi city of culture ja -aikarajojen eurooppalaisen hankkeen synty määrittäminen ulottuvuuden lisäksi

1992 Maatrichtin 2005 Päätös 2020 Päätös sopimus: EU voi 1419/1999/EC tulee 445/2014/EC tulee alkaa harjoittamaan voimaan: ECOC- voimaan eksplisiittistä hankkeen kulttuuripolitiikkaa määrittäminen yhteisön toiminnaksi, ja eurooppalaisen ulottuvuuden sisällyttäminen kriteereihin.

Kuva 1

Toteutukseen ja valvontaan liittyvien kysymysten lisäksi päätös vuosien 2007–2019 hankkeista muutti myös hakemusten kulttuuriohjelmille kohdistettuja kriteereitä. Suzana Žilič-Fišer ja Karmen Erjavec (2017, 581–582) näkevät tämän kriteereiden muutoksen olleen yksi niistä ECOC-hankkeen kehityksen taitekohdista, jonka myötä hankkeen takana vaikuttavat poliittiset ja ideologiset tavoitteet ovat tulleet selkeämmiksi. Kulttuurillisen ohjelman kriteerit jaettiin päätöksessä kahteen kategoriaan. Näistä ensimmäinen oli eurooppalainen ulottuvuus, jonka toteuttamiseksi esitettiin jäsenmaiden kulttuurillisten toimijoiden yhteistyön ajamista, eurooppalaisen kulttuurillisen monimuotoisuuden esittelemistä ja eurooppalaisten kulttuurien yhteisten piirteiden esille tuomista. Toinen kategoria oli kaupunki ja kaupunkilaiset, jonka toteuttamiseksi esitettiin alueen asukkaiden osallistamista, sekä mielenkiinnon nostoa niin alueella kuin ulkomailla. Tämän lisäksi kulttuuriohjelman tulisi olla kestävä ja keskeinen osa kaupungin pidemmän aikavälin kulttuurillista ja sosiaalista kehitystä. (European commission 2006). Kriteerien täyttämisen konkreettisempia toteutustapoja kuvattiin erillisissä ohjeissa kandidaateille (Immler ja Sakkers 2014, 6). Esimerkiksi monimuotoisuuden näyttämiseksi esitettiin monikielisiä tapahtumia, ja esimerkiksi onnistuneesta monimuotoisuuden

16 ilmauksesta nostettiin Istanbulin9 ECOC-vuoteen osana kuulunut maahanmuuttoa käsitellyt elokuva (ibid.).

2.1.1 Aktiivinen kansalaisyhteisö konventioiden haastajana

Esittelen tämän ECOC-hankkeen historiaa tarkastelevan osion lopuksi muutaman yksittäisen ECOC- tapahtuman, joissa virallisten järjestäjien tai vaihtoehtoisen kansalaistoiminnan kautta haastettiin vakiintuneita käytänteitä siitä, miten ECOC-tapahtuma tulisi toteuttaa. Ylhäältä ohjatun muutoksen pyrkiessä vaikuttamaan asettamalla hakemusten kulttuuriohjelmille kriteerejä, tuo muutamaan yksittäiseen tapahtumaan kohdistuva tarkastelu esille sitä, millaisia tulkintoja näistä kriteereistä tehdään, ja millaisin keinoin niitä lähdetään täyttämään.

Kansalaisten ja kansalaisjärjestöjen osallistaminen ECOC-tapahtumien toteutukseen lisää onnistuessaan järjestäjien käytössä olevia resursseja tuomalla mukanaan hankkeeseen sitoutuneita toimijoita. Tämän lisäksi laaja osallistaminen legitimoi kulttuuritapahtumaa, jonka keskiössä on paikallisen kulttuurin lisäksi myös eurooppalainen ulottuvuus, ja joka edellyttää nykyisessä muodossaan huomattavaa taloudellista sitoutumista osallistujakaupungeilta. Laajamittainen osallistaminen on joidenkin yksittäisten ECOC-tapahtumien kohdalla kuitenkin aktualisoitunut kritiikkinä kulttuuriohjelmaa, tai tapahtumaa vetäviä intressejä vastaan. ECOC-tittelistä käytävää kilpailua varten tehtävän hakemuksen kulttuuriohjelmaa suunnitteleville henkilöille hakemustekstin keskeinen tavoite on voittaa ECOC-titteli vakuuttamalla päätöksen tekevä raati. Voitontavoittelussa hankkeen valintakriteerien täyttäminen täytyy sovittaa yhteen paikalliskulttuurin erityispiirteiden kanssa, ja aina nämä intressit eivät ole soviteltavissa. Cian O’Callaghan (2012, 196) tarkasteli tällaista intressiristiriitaa Corkin (ECOC 2005) kampanjan yhteydessä. Kapinallisuus, joka on Corkin paikalliskulttuurissa ja -identiteetissä keskeinen määrittäjä, ei päätynyt osaksi ECOC- kulttuuriohjelmaa. Kapinaidentiteetin ohittamista perusteltiin sillä, että tapahtuman suunnittelijat tulkitsivat sen olevan ECOC-hankkeelle sopimatonta, sekä haastavan tavoiteltua kansainvälisyyttä. Koettu paikalliskulttuurin sivuuttaminen johti Where’s me culture? (WMC?) -liikkeen syntyyn. Liike paitsi haastoi virallisen kulttuuriohjelman, myös tuotti vaihtoehtoista ohjelmaa ECOC-vuoden aikana, tuoden esille niitä paikalliskulttuurin piirteitä, jotka koettiin ECOC-ohjelman ohittamiksi. (ibid.). O’Callaghan (ibid., 186) yleistää, että taiteen harjoittajien voitiin nähdä jakautuneen kahteen

9 EU:n ulkopuolisia kaupunkeja alettiin vuodesta 1992 ottaa osaksi ECOC-hankkeen sisarhanketta ”European cultural month”. ECOC-hankkeen laajetessa useampaan kuin yhteen kaupunkiin vuosittain, alettiin ECOC-titteliä jakaa EU- jäsenyyttä hakeville valtioille, sekä potentiaalisille hakijoille. 17 ryhmään: ECOC-tapahtuma oli yhdelle ryhmälle keino järjestää kansainvälinen taidetapahtuma, ja toiselle ryhmälle keino esittää paikalliskulttuuria kansainväliselle yleisölle.

Corkin tavoin myös Mariborin (ECOC 2012) kohdalla osallistaminen johti ECOC-tapahtumalle vaihtoehtoiseen toimintaan, mutta hyvin erilaisella tavalla. Mariborin alkuperäinen suunnitelma ECOC-tapahtuman toteuttamisesta korosti korkeakulttuurillisia tapahtumia, ja Glasgow’n mallin mukaisia suuria infrastruktuurihankkeita, jotka monumentteina toimisivat tapahtuman pitkäaikaisena perintönä. ECOC-vuoden lähestyessä poliittinen tuki ohjelmalle kuitenkin väheni, ja vuoden 2008 finanssikriisin seurauksena infrastruktuuripainotteisen tapahtuman järjestäminen osoittautui mahdottomaksi. ECOC-tapahtuman järjestäjät vaihtuivat alkuperäisen suunnitelman kaatuessa, ja uudet järjestäjät nostivat hankkeen keskiöön osallistamisen. Osallistaminen toteutettiin ottamalla kansalaisyhteisön edustajat keskustelutilaisuuksien ja laajan yhteistyön kautta mukaan sekä tapahtuman suunnitteluun, että toteutukseen. Lopullisessa kulttuuriohjelmassa korostui erilaiset ilmaiset tapahtumat ja keskusteluareenat, joiden kautta pyrittiin ideanvälitykseen ja hankkeen keskiössä olevien teemojen käsittelyyn julkisella areenalle kaikkien kaupunkilaisten, ei vain kulttuurieliitin toimesta. Tämä tavoiteltu ja saavutettu dialogi muutti muotoaan, kun korruptiota ehkäisevä komissio alkoi tutkia Mariborin paikallishallinnon edustajia ECOC-vuoden aikana. Tapahtumien olennaisena osana olleet avoimet keskustelutilaisuudet ja kokoontumispaikat muuttuivat poliittisen keskustelun areenoiksi. Näillä areenoilla syntyi vaihtoehtoisia poliittisia organisaatioita, jotka haastoivat paikallishallinnon. (Žilič-Fišer ja Erjavec 2017, 586–592). Mariborin ja Corkin ECOC-tapahtumien synnyttämät vaihtoehtoiset liikkeet tukevat O’Callaghanin (2012, 201) näkemystä siitä, että ECOC-hankkeella on huomattava potentiaali kulttuurillisen ja poliittisen keskustelun aloittajana. O’Callaghan (ibid.) nostaakin yhdeksi hankkeen mahdollisista kehityssuunnista sen, että tämänkaltainen keskustelu tuotaisiin virallisesti hankkeen keskiöön.

Corkin ECOC-tapahtuman suunnittelijoiden päätös sivuuttaa kapinaidentiteetti virallisessa ohjelmassa noudattaa negatiivisia assosiaatioita välttävää markkinointistrategiaa. Linzin (ECOC 2009) ECOC-ohjelmassa sitouduttiin päinvastaiseen strategiaan. Linz nosti hakemuksessaan esille kaupungin historian kansallissosialismin kanssa, myöntäen myös historiansa synkkien hetkien vaikuttaneen kaupunki-identiteettiin. Euroopan komission arvioitua tätä lähestymistapaa positiivisesti, seurasivat monet muut ECOC-tapahtumat Linzin esittämää mallia. Esimerkiksi Pécs (ECOC 2010) nosti esille sosialismin kulttuurillisen perinnön, ja Marseille (ECOC 2013) sisällytti ohjelmaansa kolonialistisen historiansa tarkastelua. (Turşie 2015, 80–81).

2.2 Ristiriidat ja laastariratkaisut

ECOC-hanketta koskevissa päätöksissä vuosien mittaan tapahtunut muutos on ollut osittain seurausta EU:n kulttuuripoliittisen toimintakentän avautumisesta, sekä unionin kulttuuripoliittisten tavoitteiden muutoksesta. Näiden muuttujien lisäksi on kuitenkin tunnistettava, että muutoksella ei ole ainoastaan pyritty hankkeen tehokkaampaan hyödyntämiseen kulttuuripoliittisten intressien ajamisessa, vaan myös vastaamaan hankkeen sisältä ja ulkopuolelta esille nostettuihin epäkohtiin ja heikkouksiin. Tämän reaktiivisen muutoksen takana, ennen hanketta muuttaneita keskeisiä päätöksiä, on laajempia tutkimuksia, jotka sisältävät myös kehityssuosituksia. Näitä laajoja tutkimuksia on kolme: ”European cities of culture and cultural months”10 vuodelta 1994, Palmerin ”European cities and capitals of culture” vuodelta 2004, sekä ”Interim evaluation of selection and monitoring procedures of European capitals of culture 2010–2016”11 vuodelta 2011. Näiden ulkopuolella ECOC-hanketta käsittelevä tutkimuskirjallisuus on pitkälti yksittäisiin ECOC-tapahtumiin keskittyvää tarkastelua. Suurelta osin tämä tapahtumakohtainen tarkastelu on tehty hankkeeseen linkittyneiden toimijoiden kautta, esimerkiksi ECOC-kaupunkien tilatessa tutkimuksia kulttuuriohjelmistaan sekä niiden vaikutuksista (Griffiths 2006, 418). Tämä ei kuitenkaan tarkoita sitä, etteikö myös itsenäistä tutkimusta olisi, mutta itsenäisetkin tutkimukset päätyvät hyödyntämään linkittyneiden toimijoiden tutkimustuloksia niiden muodostaessa valtaosan tarjolla olevasta tutkimuskirjallisuudesta. Garcían ja Coxin (2013, 29–30) tarkastelu oman, erittäin laajan, tutkimusmateriaalinsa ajalliseen jakautumiseen osoittaa, että ECOC- hankkeen alkuvuosina hanketta tarkastelevaa kirjallisuutta julkaistiin hyvin vähän, ja että valtaosa hanketta käsittelevästä kirjallisuudesta vuoteen 2013 mennessä oli julkaistu vuoden 2005 jälkeen. Tämä pätee niin akateemisiin julkaisuihin, kuin tapahtumakohtaisiin jälkiarviointeihin. Julkaisujen ajallinen painotus selittyy hyvin ECOC-hankkeen kulttuuripoliittisen roolin ja tavoitteiden laajentumisella samalla aikavälillä. Kiran Klaus Patel (2013, 547–548) näkee taustalla myös kulttuuritutkimuksen yleistymisen, ECOC-kaupunkien kasvaneen yhteistyön, ja ECOC-hankkeen piirissä tehtävän asiantuntijauran mahdollistumisen.

10 Myerscough, John (1994). European cities of culture and cultural months. Glasgow: Network of cultural cities of Europe. 11 Rampton, James, Neil McDonald ja Neringa Mozuraityte (2011). Interim evaluation of selection and monitoring procedures of European capitals of culture (ECoC) 2010–2016. Ecorys UK Ltd. Saatavilla https://ec.europa.eu/programmes/creative-europe/sites/creative-europe/files/library/2011-capitals-culture- assignment-report_en.pdf. Luettu 14.12.2018. 19

2.2.1 Kilpailu eurooppalaisuudesta

Lähestyn seuraavaksi osaa tutkimuskirjallisuudessa ECOC-hanketta kohtaan tehdyistä huomioista ja kritiikistä. Rajaan tarkasteluni sellaisiin seikkoihin, jotka voivat valaista ECOC-hankkeen tulevaa kehityssuuntaa, sekä sellaisiin tapahtumien ympärille muodostuneisiin konventioihin, jotka tukevat Galwayn ECOC-hakemuksen käsittelyä. Lähden liikkeelle fraasista ”Euroopan kulttuuripääkaupunki”, joka itsessään sisältää hankkeen kannalta keskeisiä kysymyksiä.

Määrittäjänä pääkaupunki (capital) on hankkeessa viitannut nimen omaksumisesta lähtien muualle kuin valtioiden pääkaupunkeihin. Yksittäisen ECOC-tapahtuman kannalta edes kaupunki ei ole välttämätön määrittäjä, sillä ECOC-titteli on jaettu ja siitä on kilpaillut myös useamman kaupungin yhteistyöverkostot, sekä erinäiset toimijat alueellisen nimen alla (esim. Ruhr 2010). Uuden alueellisen metropolin nostaminen hankkeen keskiöön sisältää kuitenkin riskin. Alueellisen toimijan epäonnistuessa sitouttamaan alueen asukkaita uuteen identiteettiin, voi ECOC-hakemus kaatua tähän epäonnistumiseen osallistamisessa. Esimerkiksi Alankomaissa usean kaupungin hakemus yhteisen BrabantStad-nimen alla ei onnistunut saamaan alueen asukkaita identifioitumaan ohjelman kuvaamaan entiteettiin. Kaupunkien asukkaat identifioituivat Pohjois-Brabantin provinssiin, mutta sen sisälle luotu metropolialue jäi heille vieraaksi. (Richards ja Marques 2016, 191–192). Joustavuus pääkaupunki-määrittäjässä on kuitenkin hankkeelle välttämätöntä. Immler ja Sakkers (2014, 8) kertovat hankkeen vetäjien huolen kasvaneen sen suhteen, miten pienet jäsenvaltiot kykenevät ylläpitämään hankkeen imagoa samalla, kun titteli siirtyy näissä maissa asukasluvultaan ja kulttuurituotannoltaan yhä pienemmille kaupungeille.

Giorgia Aiello ja Crispin Thurlow (2006, 149) esittävät laajentuneen EU:n ja sen jäsenvaltioiden suhteen eurooppalaisuuteen olevan tasapainottelua kahden keskeisen pyrkimyksen välillä. Ensinnäkin laajentumisen ja joustavuuden mahdollistamiseksi eurooppalaisuus täytyy pitää inklusiivisena. Inklusiivisuuden myötä on mahdollista sisällyttää eurooppalaisen identiteetin alle niin erilaiset EU:n alueen kulttuurit, sen laajenemisen alueiden kulttuurit, kuin globaalin muuttoliikkeen myötä alueelle muodostuvat kulttuurit. Samalla pyritään myös jonkinlaisen ekslusiivisuuden ylläpitoon. Eurooppalaisuuden tulee sisältää piirteitä, jotka erottavat sen kolmansista kulttuureista, tehden tämän erotuksen kautta siitä mielekkään identiteetin. (ibid.). Ekslusiivisuuden väline ECOC- hankkeen kohdalla on päätöksissä toistuvien jaettujen eurooppalaisten piirteiden korostus. Joustavuuden ja rajaavuuden yhteiselo saa aikaan ristiriidan. Aiello ja Thurlow (ibid.) esittävät tämän ristiriidan käsittelyn vaativan kielellistä sovittelua. ECOC-päätösten välttäessä konkreettisia

20 rajanvetoja, on jokaisella ECOC-tapahtumalla mahdollisuus itse määrittää eurooppalaisten kulttuurien yhteiset piirteet. Näin ekslusiivisuuden voidaan nähdä olevan toteutettavissa inklusiivisesti: jokainen ECOC-tapahtuma rajaa asioita eurooppalaisuuden ulkopuolelle, mutta hankkeen kiertävän luonteen myötä rajauksella on potentiaali muuttua vuosittain. Esimerkkinä eurooppalaisuuden määrittäjien muuttuvuudesta voidaan nähdä Lähdesmäen (2011, 160) kyselytutkimus Pécsin ECOC-vuoteen liittyen, jossa vastaajat tunnistivat kulttuuriohjelmasta eurooppalaisia elementtejä, mutta samat elementit saatettiin tulkita eri vastaajien toimesta myös paikallisuuden, alueellisuuden, kansallisuuden tai globaalisuuden ilmentymiksi.

Vastaava sisäänrakennettu joustavuus näkyy myös hankkeen kulttuurillisissa tavoitteissa. Esimerkiksi eurooppalaisen ulottuvuuden osoittamiseksi hakijoita kehotetaan vuosien 2007–2019 tapahtumia ohjaavassa päätöksessä sekä korostamaan Euroopan kulttuurillista monimuotoisuutta, että tuomaan esille jaettuja piirteitä (1622/2006/EC). Säädöksen kielen soveltuessa monenlaiseen tulkintaan, tapahtuu kulttuurillisen ilmaisun rajaaminen pikemminkin yksittäisissä ECOC-ohjelmissa kuin ylhäältä johdettuna. Aiemmin esille nostamani Corkin tapaus, jossa kapina-identiteetin rajaaminen ohjelman ulkopuolelle perusteltiin ECOC-hankkeen luonteella ja kansainvälisyyden turvaamisella, ei ole ainut laatuaan. Lähdesmäki (2011, 140) näkee ECOC-hankkeessa tapahtuneen muutoksen olevan osa laajempaa globaalia muutosta kohti kulttuurin ”festivaalisoitumista”. Globaalilla tasolla muutoksen syynä on turismin ja kansainvälisyyden tavoittelu, mihin pyritään kulttuurirajat ylittävän ymmärrettävyyden takaamisella, erityisesti suuret kulttuurin kuluttajamaat ja -alueet huomioiden. Tämän seurauksena paikalliskulttuuri väistyy globaalin populaarikulttuurin tieltä. (ibid.; Bonet ja Négrier 2011, 585–586). ECOC-hakemuksissa kulttuurirajat ylittävä ymmärrettävyys kohdistuu ensisijaisesti valinnan tekevään raatiin, ja siihen ohjaa myös aiempiin ECOC-hakemuksiin tukeutuminen, ja näiden hakemusten pyrkimykset jaettujen kulttuurillisten ilmaisujen hyödyntämiseen. Esimerkiksi hakemusten ja tapahtumien oheismateriaalin visuaalisessa ilmeessä hyödynnetään paljon samoja visuaalisia konventioita ECOC-tapahtumasta toiseen (Aiello ja Thurlow 2006). On kuitenkin oleellista tunnistaa, etteivät ECOC-ohjelmat ainoastaan seuraa laajempaa globaalia trendiä kulttuurikuvauksissaan, vaan myös osaltaan toistamisen kautta vahvistavat sitä.

Cian O’Callaghan (2012, 186) kritisoi ECOC-hankkeen tavoitteiden laajenemista siitä, että moninaistuvat tavoitteet eivät ole toisiaan tukevia, vaan usein vastakkaisia:

”The ECOC has come to be viewed as a multi-dimensional action that must incorporate economic and cultural objectives, must represent both local cultural heritage and European identities, and must stage an international arts event while simultaneously advancing the local cultural sector and social inclusion objectives. These multiple objectives are not mutually reinforcing and often contradictory.”

Yksi hankkeessa esiintyvistä ristiriidoista on osallistuvan kansalaisen ja kulttuurieliitin välillä. Lähdesmäki (2012, 67) huomauttaa, että ECOC-ohjelman esittäessä kulttuurillisen integraation lähtevän kansalaisista, kaupungeista ja paikallisista instituutioista, määritellään hyväksyttävät kulttuurillisen integraation tavoitteet ja muodot ECOC-ohjelmassa. Näin aktiivisenkin kansalaistoimijan toimintaa rajoittaa ylhäältä annetut raamit. Myös näiden aktiivisten kansalaistoimijoiden rooli ECOC-tapahtumien toteuttamisessa on kyseenalaistettu. Palonen (2010, 89) esittää, että konsulttien vaikutusvalta hankkeen johdossa on huomattava, mikä on osasyy tiettyjen konventioiden vakiintumiselle. Hän päätyy käyttämään jopa ilmaisua eurooppalainen kulttuurillinen eliitti. Helsingin (ECOC 2000) tapahtuman suunnittelijoiden keskeisyys monissa ECOC-vuotta seuranneissa kulttuuritapahtumissa on osoitus siitä, että ECOC-hankkeella on potentiaali luoda ja vakiinnuttaa tätä kulttuurillista eliittiä (ibid., 94–95). Patel (2013, 539) esittää Euroopan komission hyödyntävän kulttuurieliitin vakiintumista hankkeen piiriin. Hänen mukaansa samoihin asiantuntijoihin tukeutuminen on mahdollistanut esimerkiksi tulkinnanvaraiseen ”eurooppalaiseen ulottuvuuteen” sitoutumisen, sillä komissio on voinut luottaa asiantuntijoiden ohjaavan käsitteestä tehtäviä tulkintoja EU:n intressien mukaisiksi (ibid.).

ECOC-tittelin taloudellisten vaikutusten potentiaalin tunnistamisen ja hankkeen valintaprosessia kilpailullisemmaksi muuttaneiden päätösten myötä kilpailu tittelistä on kasvanut. Tämä on johtanut sekä hakijoiden määrän, että hakuprosessiin sijoitetun pääoman kasvuun. ECOC-tittelin voittajien ohelle on syntynyt nopeasti kasvava joukko kilpailun hävinneitä kaupunkeja. Hävinneet kaupungit paljastavat ECOC-hankkeen lieveilmiöitä. Esimerkiksi Cardiffin osallistuminen kisaan Yhdistyneiden kuningaskuntien ECOC-tittelistä paljastaa hakemusprosessin kasvaneen keskeisyyden hankkeessa. Cardiff osallistui kilpailuun huolimatta siitä, että kaupungissa voittaminen arvioitiin hyvin epätodennäköiseksi (Griffiths 2006, 420–421). Kilpailu itsessään nähtiin kaupungin hallinnon markkinoinnista vastaavassa elimessä keinona kaupunkiprofiilin kohotukseen (ibid.).

Pelkän mediahuomion lisäksi tätä ajattelua voi selittää sillä, että monivuotisen hakemisprosessin aikana kaupungit alkavat jo valmistella ja toteuttaa osia ohjelmistaan. Greg Richards ja Lénia

Marques (2016, 181) nostavat esille tämän kaltaisen argumentin Lontoon olympialaishakemukseen liittyen: hävitessäänkin hakemisprosessi päätyisi kehittämään hankkeelle keskeisimpiä kaupunginosia. Lähdesmäki (2014a, 493) tunnistaa samanlaisen ilmiön ECOC-tittelistä käydyn kilpailun hävinneissä Itä-Euroopan kaupungeissa. Kilpailuvalmistautumisen lisäksi kulttuuriohjelmia hyödynnetään häviämisen jälkeenkin, sillä niiden suunnitelmat ovat osittain toteutettavissa myös normaaleissa vuosittaisissa budjeteissa, eikä niihin panostettua työtä haluta nähdä hukkaan heitetyksi (ibid.). ECOC-hankkeen valintakriteerien ohjatessa kulttuuriohjelmien suunnittelua, voivat hävinneetkin kaupungit päätyä näin toteuttamaan EU:n kehitysintressejä. Hakuprosessin esittäminen kilpailuun lähtemisen perustaksi on kuitenkin problemaattista. Ensinnäkin pelkän hakuprosessin seurauksista tehdyissä tutkimuksissa on pääasiassa keskitytty taloudellisiin mittareihin, kuten turismiin, eikä hyvinkään toteutetun hakuprosessin kulttuurillisista, sosiaalisista tai imagovaikutuksista ole selvyyttä (Richards ja Marques 2016, 182). Tämän lisäksi hakuprosessiin mukaan lähtemiseen liittyy olennaisesti tarve perustella resurssien sitominen tulokseltaan epävarmaan prosessiin. Hanke täytyy oikeuttaa niin poliittisesti, taloudellisesti ja kulttuurillisesti keskeisille tahoille, ja osallistamisen mahdollistamiseksi myös kansalaisille. Tämän lisäksi kilpailun päätyessä häviöön, on yksi tapa hallita poliittisia, taloudellisia ja kulttuurillisia seurauksia pyrkiä esittämään hakeminen itsessään arvoa tuottaneena. (ibid., 188–189). Hakemusprosessin oikeuttamisen ollessa tärkeää, on hakemusprosessista tehtäviä tulkintoja hyvä lähestyä kriittisesti tiedostaen sen, että kilpailun hävinneillä kaupungeilla on selkeä intressi korostaa hakemusprosessin itseisarvoa.

Kilpailun lisääntyminen on johtanut konventioiden syntyyn hakijoiden kulttuuriohjelmissa. Hakijat eivät ainoastaan pyri täyttämään valintakriteerejä, vaan ovat myös alkaneet tulkita näitä kriteerejä aiempien voittajien hakemusten ja kulttuuriohjelmien kautta. (Lähdesmäki 2014a, 493–494). Tämä on seurausta siitä, että voittoa tavoitteleva hakemusteksti on suunnattu suuren yleisön sijaan päätöksen tekevälle valintaraadille samalla, kun hakemuksessa esitetyn kulttuuriohjelman nähdään olevan sopimus ECOC-hankkeen ja hakijan välillä. Valintakriteerien ollessa tulkinnanvaraisia, on valintaraadin hakemia tulkintoja etsitty aiemmista hakemuksista, sekä valinnoille annetuista perusteista. ECOC-hankkeeseen vakiintuneet konventiot ovat yhdistelmä kaupunkimarkkinoinnin konventioita ja aiempien voittajien näistä tekemiä poikkeamia. Charles Landry (2000, 43) käyttää kaupunkimarkkinoinnin konventioista käsitettä ”kaava-ajattelu” (formula thinking), joka ilmenee esimerkiksi siinä, että jokainen kaupunki nimeää itsensä festivaalikaupungiksi:

”Cities always find a way of saying they are central. – – Does it make sense to say you are central when you are not? A string of cities along the former fault-line between East and West Europe project themselves as gateways – – Equally every city is the festival city. – – If you replace one city name by another you would not know the difference.”

Tuon näitä konventioita esille Galwayn ECOC-hakemusta analysoidessani niiltä osin, kuin kyseinen hakemus päätyy niitä noudattamaan.

Hakijoiden osalta keskeisimpiä ECOC-hankkeeseen liittyviä kysymyksiä on se, ovatko aiemmat voittajat saavuttaneet tavoitteitaan. Lähdesmäki (2011, 135–136) arvioi Palmerin raportin pohjalta, että ECOC-tapahtumien pitkäaikaiset seuraukset ovat harvinaisia. Tämä on hakijoiden kannalta keskeistä, sillä Glasgow’n ECOC-vuoden jälkeen juuri pitkäaikaisten seurausten aikaansaaminen on nähty onnistuneen ECOC-tapahtuman potentiaalina. O’Callaghan (2012, 186) vastaavasti arvioi, että tavoitteidensa saavuttamisessa epäonnistuneiden ECOC-kaupunkien määrä on suurempi kuin niissä onnistuneiden. Tämä voi osittain johtua siitä, että tavoitteiden ollessa keskeinen osa ECOC- hakemusta, ja hakemuksen taas ollessa ECOC-kilpailun keskiössä, voivat kaupungit päätyä tarkoituksella toteutukseltaan mahdottomiin tai äärimmäisen haastaviin tavoitteisiin. Valinnan tekevällä raadilla on rajalliset resurssit arvioida esitettyjen tavoitteiden toteutuskelpoisuutta, joten niiden liioittelussa ei ole suurta riskiä ECOC-kilpailun kannalta. Tavoitteisiinsa suhteutettuna menestyneet tapahtumat saattavat näin olla harvassa, mutta sijoituksensa takaisin saaneet eivät ole yhtä harvinaisia. Menestyksen mittaus on myös vaikeaa, varsinkin kun huomioi, miten jälkiarviointi keskittyy vahvasti taloudellisiin ja kaupunkikuvaan liittyviin vaikutuksiin, ja esimerkiksi kansalaisyhteisössä tapahtuneet muutokset jäävät vähemmälle huomiolle. Yksittäisten ECOC- tapahtumien seurausten lisäksi on hankkeen onnistumisen arvioinniksi katsottava myös sitä, miten se palvelee EU:n kulttuuripoliittisia intressejä. Palonen (2010, 105) näkee ECOC-hankkeen olevan EU:n näkökulmasta onnistunut. Hanke on unionille kustannustehokas ECOC-tittelin voittaneiden kaupunkien vastatessa valtaosasta rahoitusta. Hanke tuo samalla esille niin Eurooppaa, EU:ta, valtioita, alueita kuin kaupunkeja. Hankkeen kautta paikalliset toimijat tuottavat vapaaehtoisesti kulttuurisisältöä, joka sopii EU:n kulttuuripoliittisiin tavoitteisiin. (ibid.).

2.3 Päätös vuosille 2020–2033

Uusin ECOC-hanketta määrittävä päätös ei ainoastaan jatka olemassa olevaa hanketta, vaan on luultavasti yksi niistä taitekohdista, joissa tuleva tarkastelu osoittaa ECOC-hankkeen muuttaneen muotoaan. Perustelen tätä väitettä esittelemällä seuraavaksi lyhyesti niitä huomattavia eroja, joita vuosille 2007–2019 ja 2020–2033 annettujen päätösten välillä on. Erojen tunnistaminen on keskeistä tälle tutkimukselle, jotta voimme tunnistaa myös ne uudet ehdot, joihin Galwayn hakemuksen tulee mukautua. Hyödynnän tässä tarkastelussa varsinaisten päätöstekstien lisäksi myös komission liitedokumenttia12 uudelle päätökselle.

Komission liitedokumentti esittää, että vuoden 2019 jälkeen ECOC-hankkeen tulee ylläpitää hankkeen yleistä henkeä, rakentaa sen vahvuuksien päälle, ja vastata sen kohtaamiin ongelmiin. Dokumentti listaa viisi hankkeen kohtaamaa ongelmaa. Näistä ensimmäinen on (1) vakauden puuttuminen hallinnollisista rakenteista ja budjeteista. Dokumentti nostaa mm. Mariborin13 ja Pécsin ECOC-tapahtumat esimerkeiksi poliittisen ja taloudellisen tilanteen muutoksesta valinnan ja ECOC- vuoden välillä. Vakauden puutteen nähdään madalluttavan ECOC-tapahtuman tavoitteita, mikä johtaa hankkeen vaikutusten pienenemiseen. Muutokset hakemuksen ja varsinaisen ECOC- tapahtuman välissä vääristävät myös valintaprosessia toteutetun tapahtuman jäädessä vajaaksi suunnitellusta. Tämä on paitsi kilpailutilanteen oikeudenmukaisuuden, myös EU:n kulttuuripoliittisten intressien toteutumisen kannalta ongelmallista, sillä hakemuksessa esitetty kulttuuriohjelma on nähty sopimuksena Euroopan komission ja hakijan välillä. Dokumentti näkee (2) eurooppalaisen ulottuvuuden olevan rajallinen. Syyksi tälle rajallisuudelle nähdään se, ettei ulottuvuuden merkitystä ole ymmärretty riittävän hyvin ECOC-kaupungeissa. Rajallisuuden kritiikkiin sisällytetään myös kritiikki sille, etteivät monet ECOC-tapahtumat ole tuoneet riittävän selkeästi esille linkkiä EU:n ja tapahtuman välillä. (3) Heikko pitkän aikavälin suunnittelu on yksi dokumentin esille nostamista ongelmista. Pitkän aikavälin seurausten puuttuminen selitetään sillä, että ECOC-kaupungit eivät ole suunnitelmissaan ottaneet niitä tavoitteeksi, eivät ole budjetoineet niihin rahaa, tai ovat lopettaneet ECOC-tapahtuman tuottaneen organisaation heti ECOC-vuoden loputtua. Neljäs ongelma on (4) arviointiin ja vertaamiseen tarvittavan datan puute. Vuodesta 2007 ECOC-kaupunkeja on velvoitettu tekemään tapahtumastaan jälkiarvio, mutta näiden muotoa ei ole tarkemmin määritelty. Tämän seurauksena tutkimukset ovat vaihdelleet Liverpoolin 10 vuoden

12 Saatavilla osoitteesta https://eur-lex.europa.eu/legal-content/EN/TXT/?uri=CELEX:52012SC0226 13 kts. osio 2.1.1 25 aikavälille sijoittuvasta tutkimuksesta vaatimattomampiin, pelkkiä taloudellisia seurauksia tarkasteleviin tutkimuksiin. Tämä on johtanut paitsi vertaavan tutkimuksen vaikeuteen, myös siihen, että ECOC-kaupunkien on ollut vaikea tunnistaa niitä arviointiperusteita ja -välineitä, joita hyödyntämällä niiden olisi mahdollista arvioida omia suunnitelmiaan. Viimeiseen ongelmakohtaan viittasin jo aiemmin: (5) osassa jäsenvaltioissa on vain rajattu määrä uskottavia kandidaatteja hankkeelle. Vuonna 2015 Belgiassa ja vuonna 2018 Maltassa titteliä haki vain yksi kaupunki. Monet pienistä EU-maista ovat jo järjestäneet useita ECOC-tapahtumia. Vuosille 2007–2019 annetut säännöt tekevät tittelin jakamatta jättämisestä ”poliittisesti hyvin vaikeaa”. (European commission 2012).

Tulkitsen liitedokumentin ongelmakohdat keskeisiksi syiksi uuden päätöksen eroille edelliseen verrattuna. Niiden voidaan tulkita suoraan johtaneen muun muassa siihen, että raadille mahdollistetaan suositus tittelin jakamatta jättämiseksi, sekä kolmen itsenäisen tutkimuksen sijoittaminen hankkeen aikavälille (Euroopan komissio 2014). Oman tutkielmani kannalta keskeisimmät muutokset ovat kuitenkin ne, jotka on tehty arviointikriteereihin. Nämä muutokset vaikuttavat suoraan siihen, miten ECOC-ehdokkaat toteuttavat hakemuksensa. Ennen arviointikriteerien käsittelyä on kuitenkin olennaista korostaa yhtä päätöstekstin muutosta. Vuosille 2007–2019 sijoittuvassa päätöksessä hankkeen tavoitteeksi nimettiin eurooppalaisten kulttuurien monimuotoisuuden, rikkauden ja jaettujen piirteiden korostaminen, sekä eurooppalaisten jaetun ymmärryksen ajaminen (European commission 2006). Tämä tavoite pysyy myös vuosien 2020–2033 päätöksessä, mutta se esitetään yhtenä hankkeen yleisenä tavoitteena, ja sen rinnalle nousee myös toinen yleinen tavoite:

”[Toiminnan yleinen tavoite on] b) edistetään kulttuurin panosta kaupunkien pitkän aikavälin kehitykseen niiden omien strategioiden ja painopisteiden mukaisesti.” Euroopan komissio (2014).

Uusi yleinen tavoite on vastaus liitedokumentin kritiikkiin pitkän aikavälin suunnittelun heikkoudesta. Pitkän aikavälin kehityksen nostaminen hankkeen yleiseksi tavoitteeksi on kuitenkin samalla myös huomattava uusi linjaus, joka heijastuu muuhun päätökseen.

ECOC-hankkeen historiaa käsittelevässä osiossa 2.1 kävin lävitse aiemmat muutokset arviointikriteereissä. Hankkeen muututtua hallitustenvälisestä toiminnasta unionin toiminnaksi vuonna 2005 oli päätöksessä nimettynä valintakriteerinä vain ”eurooppalainen ulottuvuus”. Vuodesta

2010 lähtien eurooppalaisen ulottuvuuden lisäksi kriteereihin listattiin myös osallistamista korostava ”kaupunki ja kansalaiset”. Arviointikriteerien puolesta hanke oli jättänyt paljon tulkinnanvaraa ja siten myös liikkumatilaa hakijoille. Vuosille 2020–2033 annettu päätös toi kuitenkin huomattavia muutoksia arviointikriteereihin. Kriteerit on uudessa päätöksessä jaoteltu kuuteen ryhmään, jotka ovat ”panos pitkän aikavälin strategiaan”, ”eurooppalainen ulottuvuus”, ”kulttuuri- ja taiteellinen sisältö”, ”toteutusvalmius”, ”vaikutusala”, ja ”hallinto”. Näistä ryhmistä jokainen käsittää 2–5 arvion perustana olevaa alatekijää. Käsittelen seuraavaksi muutamaa näistä arvioinnin perusteista selventääkseni, miten valintakriteerejä muuttamalla pyritään vastaamaan liitedokumentin esille nostamiin ongelmiin, ja miten muutokset valintakriteereissä samalla johtavat myös ECOC-hankkeen laajempaan muutokseen.

Ensimmäiseksi arviointikriteeriksi listattu ryhmä ”panos pitkän aikavälin strategiaan” pyrkii selkeästi mahdollistamaan uuden yleisen tavoitteen, eli kaupunkien pitkän aikavälin kehityksen, toteutumisen. Tämän ryhmän arviointitekijät vaativat hakijoiden suunnitelmia ulottumaan ECOC-vuoden ylitse. Suunnitelmien tulee vahvistaa kulttuuri-, talous-, ja sosiaalialan yhteyksiä. Tämän lisäksi suunnitelmien tulee sisältää keinot vaikutusten mittaamiseksi ja niistä tiedottamiseksi. (Euroopan komissio 2014). Tämä arviointikriteeri voidaan nähdä Glasgow’n hankkeessa aloittaman kulttuurin, talouden ja sosiaalisen linkittymän tähänastisena kulminaationa. Aiemmatkin päätökset ovat tunnustaneet ECOC-hankkeen kyvyn saada aikaan pitkän aikavälin muutoksia valituissa kaupungeissa, mutta vuosien 2020–2033 päätös nostaa tämän potentiaalin hankkeen keskiöön myös virallisesti. Vuosien 2007–2019 päätös myös nimesi kulttuuriohjelman yhdeksi tavoitteeksi pidemmän aikavälin kehityksen, mutta silloisessa päätöksessä tämä kehitys rajattiin kulttuurilliseksi ja sosiaaliseksi, eikä taloudellista puolta mainittu. On selkeästi eri asia antaa kaupungeille tunnustusta niiden kyvystä hyödyntää kulttuuriohjelmaa taloudellisen elpymisen välineenä, kuin nostaa talouden ja kulttuurin linkittymisaste yhdeksi hankkeen arviointikriteeriksi.

Toinen arviointikriteeriryhmä ”eurooppalainen ulottuvuus” tarjoaa aiempia päätöksiä laajemman, mutta edelleen hyvin tulkinnanvaraisen, selvityksen siitä, mitä kaupunkien tulee tehdä osoittaakseen eurooppalaisuutta. Sen neljästä alakohdasta ensimmäinen toistaa pitkälti hankkeen yleistä tavoitetta, nimetessään arvioitavaksi moninaisuutta, vuoropuhelua ja yhteisymmärrystä edistävät toimet. Toinen alakohta nimeää arvioitavaksi ne toimet, joilla Euroopan kulttuureihin, kulttuuriperintöön, historiaan, yhdentymiseen ja ajankohtaisiin kysymyksiin liittyviä yhteisiä näkökohtia korostetaan. Kolmas alakohta nimeää arvioitavaksi eurooppalaisen yhteistyön, kuten eurooppalaisten taiteilijoiden ja toimijoiden osallistumisen, laajuuden ja laadun. Viimeinen eurooppalaisen ulottuvuuden

27 arviointiperuste on suunnitelman strategia eurooppalaisen ja kansainvälisen kiinnostuksen herättämiseksi. (ibid.). Kieleltään kriteeri seuraa niitä linjauksia, joita aiemmissa päätöksissä on esiintynyt. Ainoa konkreettinen arviointiperuste, jonka tämä kriteeri nimeää, on eurooppalaisten taiteilijoiden ja toimijoiden osallistumisen mittaaminen. Muilta osin nimetyt tavoitteet ovat tulkinnanvaraisempia ja mahdollisia lähestyä monin keinoin. Huomion arvoinen lisäys aiempiin arviointikriteereihin verrattuna on Euroopan yhdentymisen käsittelyn arviointi valintaraadin toimesta.

Vaikutusala-kriteeriryhmä sisältää osallisuuteen liittyviä vaatimuksia, jotka aiemmassa päätöksessä sisältyivät ”kaupunki ja kansalaiset” -kriteereihin. Kaupunki ja kansalaiset -kriteerin antaessa hakijoille varsin laajan vapauden tulkita ja toteuttaa vaatimustaan kaupunkilaisten osallistumisen vaalimisesta ja mielenkiinnon herättämisestä ulkomailla14, on uuden päätöksen vaikutusala-kriteeri huomattavasti tarkempi siinä, miten hankkeen vaikutusala ja osallisuus tulee osoittaa: Kaupunkilaisten osallistuminen hakemuksen laatimiseen ja ECOC-vuoden toteutukseen tulee osoittaa. Hankkeen tulee luoda uusia ja kestäviä mahdollisuuksia osallistua kulttuuritoimintaan, huomioiden erityisesti mm. nuoret, vähemmistöt ja iäkkäät. Hakemuksen tulee sisältää strategia yleisöpohjan laajentamiseksi, jossa tulee erityisesti huomioida yhteydet koulutukseen ja koulujen osallistamiseen. Vanhaan päätökseen verrattuna tekee uusi päätös selväksi, että osallisuuden osoittamiseksi tulee kaupunkien huomioida erityisesti komission luettelemat ryhmät.

Liitedokumentissa esille nousseeseen huoleen vakauden puutteesta hallinnollisissa ja budjetillisissa asioissa pyritään vastaamaan erityisesti arviointikriteereissä ”toteutusvalmius” ja ”hallinto”. Nämä kriteerit ohjaavat valintaraatia arvioimaan mm. hakijoiden hakemusten saamaa poliittista tukea, niiden infrastruktuurin riittävyyttä, talousarvion toteutettavuutta, ja hallinto- ja toteutusrakenteen toimivuutta (Euroopan komissio 2014).

Uusien ja avatumpien arviointikriteerien lisäksi vuosien 2020–2033 päätös muutti ECOC- hakemuksia myös asettamalla niille selkeän rakenteen. Päätöksen myötä komissio laati arviointikriteereihin perustuvan yhteisen hakemuslomakkeen15, joka toimii kaikkien hakijoiden

14 Alkuperäisessä tekstissä: ”As regards ’City and Citizens’ the programme shall: (a) foster the participation of the citizens living in the city and its surroundings and raise their interest as well as the interest of citizens from abroad;” 15 Saatavilla osoitteessa https://ec.europa.eu/programmes/creative-europe/sites/creative-europe/files/capitals- culture-call-applications_en.pdf. 28 hakemusten pohjana. (ibid.). Hakemuslomakkeen kuusi alaotsikkoa heijastavat päätöksen määrittämiä yleisiä tavoitteita ja arviointikriteerejä:

”Contribution to long-term strategy”, ”Cultural and artistic content”, ”European dimension”, ”Outreach”, ”Management”, ”Capacity to deliver” Template for the call for applications

Hakemuslomake on vuosien 2020–2033 päätöksen aikaansaamista muutoksista selkein ECOC- hakemuksia muuttava tekijä. Sen sisältämät alaotsikot ja suorat kysymykset muodostavat raamit, joiden sisällä kaikki vuosien 2020–2033 hakemukset tulee toteuttaa. Arviointikriteerien laajentumisen ja tarkentumisen lisäksi niiden pohjalta muodostettu hakemuslomake lisää hakemuksiin kohdistuvaa ylhäältä tulevaa ohjausta. Jos ECOC-titteliä tavoitteleva kaupunki haluaa luoda uusia tapoja tulkita ECOC-hankkeen sisältämä potentiaali, kuten esimerkiksi Glasgow ja Maribor aikoinaan tekivät, tulee sen onnistua tässä uusien tulkintojen tekemisessä samalla, kun se osoittaa toteuttavansa joukon kriteerejä, joiden on tarkoitus ajaa EU:n kulttuuripoliittisia intressejä. Osion 4 sisältämässä Galwayn hakemuksen analyysissä yksi keskeinen tarkastelukohta onkin, miten hakemuslomakkeen raamit rajoittavat hakemustekstiä, ja miten ja miltä osin hakemustekstin laatijat pyrkivät vastustamaan näitä rajoitteita.

3. HAKEMUSTEKSTI JA NARRATIIVINEN ANALYYSI

3.1 ECOC-hakemus

Tämän tutkimuksen keskittyessä yksittäiseen ECOC-hakemukseen suhteessa ECOC-hankkeen historiaan ja hankkeessa vuodesta 2020 lähtien tapahtuviin muutoksiin, on olennaista esittää ensin koherentti kuva ECOC-hakemuksesta tekstinä. Kuvaan tässä kappaleessa lyhyesti ECOC- hakemuksen tavoitteita ja sitä prosessia, missä hakemus tuotetaan. Tämän jälkeen käsittelen hakemustekstiä tekstityyppinä, ja pohdin mitä sen analyysissä tulee erityisesti ottaa huomioon.

ECOC-hakemus on kulttuuripääkaupunki-titteliä tavoittelevan kaupungin sopimus siitä, millaisen kulttuuriohjelman kaupunki toteuttaa, jos se valitaan kulttuuripääkaupungiksi. Sopimustekstinä se pitää sisällään kuvauksen suunnitellusta kulttuuriohjelmasta, mutta myös niistä taloudellisista ja poliittisista sitoumuksista, jotka mahdollistaisivat kyseisen kulttuuriohjelman toteuttamisen. Hakemus on tämän lisäksi myös keskeisin argumentoinnin väylä ECOC-tittelistä käytävässä kilpailussa, minkä vuoksi hakemukset sisältävät erilaisia perusteluita ECOC-tittelin saamisen puolesta aina kulttuuriohjelman erityislaatuisuudesta tittelin taloudellisiin ja yhteisöllisiin hyötyihin. Nämä kaksi pyrkimystä ovat hakemustekstissä keskeisiä: toisaalta se on sopimusteksti, joka sitoo kaupungin tiettyyn toimintaan ECOC-tittelin voittamisen jälkeen, toisaalta se on tittelin voittamisen puolesta argumentoiva markkinointiteksti. Näiden kahden tekstityypin sisällyttäminen samaan tekstiin luo ristiriidan potentiaalin, sillä sopimustekstin keskiössä oleva sitoumus toteutettavuuteen rajoittaa markkinointitekstin mahdollisuuksia pyrkiä luomaan vahvoja mielikuvia ECOC-tittelin mukanaan tuomista mahdollisuuksista.

ECOC-vuoteen valmistautuminen vuosien 2020–2033 hankekauden aikana alkaa vähintään kuusi vuotta ennen ECOC-tapahtumaa hakemuskutsulla. Hakemuskutsun antamisesta vastaa kulloinkin vuorossa olevien maiden kulttuuriministeriöt. Hakemuskutsun antamisen jälkeen ECOC-titteliä tavoittelevilla kaupungeilla on vähintään 10 kuukautta aikaa tuottaa ensimmäinen versio hakemuksesta, sillä valinnan tekevä raati kokoontuu viimeistään viisi vuotta ennen ECOC- tapahtumaa arvioimaan hakemuksia, karsimaan ehdokkaita ja antamaan jäljellä jääville hakijoille lisäohjeistusta. Hakijat tuottavat hakemuksistaan toisen version näiden lisäohjeiden ja suositusten mukaisesti. Yhdeksän kuukautta karsintakierroksen jälkeen raati kokoontuu tekemään lopullisen päätöksensä.

Valintaprosessin kaksivaiheisuus mahdollistaa valintaraadille tehokkaamman tavan valvoa hakemuksen sopimustekstin sisältöä ja toteutettavuutta, kuin mikä olisi mahdollista yksivaiheisessa valintaprosessissa. Raati voi lisäohjeissaan vaatia hakijakaupungilta esimerkiksi tietyn kulttuuriohjelman osa-alueen taloudellisen tai poliittisen toteutettavuuden osoittamista toisessa hakemusversiossa. Hakemuksen lopullisen version tuottaminen lisäohjeita reflektoiden mahdollistaa myös hakijakaupungeille arviointikriteereistä tehtyjen tulkintojen sopivuuden varmistamisen. Koska arviointiraati pyrkii arvostelemaan hakemuksia yhdenmukaisesti, ja kaupungit mukautuvat tähän arvioon ensimmäisen ja toisen hakemusversion välissä, johtaa kaksivaiheinen valintaprosessi myös hakemusten yhdenmukaistumiseen.

Arviointikriteereistä ja lisäohjeista johtuva yhdenmukaistuminen koskee kuitenkin pääosin hakemusta sopimustekstinä. Markkinointitekstinä hakemuksen toimintakenttä on laajempi. Hanketta määrittävät päätökset eivät erittele sitä, millaisiin kaupunkikuvauksiin ja tittelin tarpeen perusteluihin hakijat voivat sitoutua. Vuosien 2020–2033 hakemukset etenevät hakemuslomakkeen kysymysasettelun mukaisesti, mutta mallivastausten ja kysymyskohtaisten pituusrajoitusten puuttuessa on hakijoilla mahdollisuus valjastaa annettu kysymysasettelu oman markkinointitekstinsä väyläksi.

Galwayn ECOC-hakemuksen analyysi komission päätöstekstiä hyödyntäen onkin haastavaa osittain siksi, että päätöksen ollessa selkeästi hallinnollinen teksti, on sitä seuraten tehty hakemus puolestaan pääosin markkinointiteksti. Päätös pyrkii luomaan toiminnan raameja ja ehtoja, hakemus pyrkii luomaan mielikuvia ja perusteluja. Nähdäkseni miten Galwayn hakemus vastaa erilaisten tekstityyppien yhteensovittamiseen liittyvään haasteeseen, lähestyn hakemusta narratiivista analyysia hyödyntämällä.

3.2 Northrop Fryen narratiivinen analyysi

Esittelen seuraavaksi Northrop Fryen teorian romanttisesta narratiivista avaamalla oman tutkimukseni kannalta sen keskeisimmät käsitteet ja kategoriat: toimijuuden, viattomuuden ja kokemuksen analogian sekä ongelman ja ratkaisun.

Rajaus oman tutkimukseni tavoitteiden saavuttamiseen tarkoittaa sitä, että keskityn vain niihin käsitteisiin ja kategorioihin, jotka näen tarpeellisiksi hakemustekstin romanttisen narratiivin erittelyyn. Tämä rajaus on tarpeellinen paitsi tutkimuksen fokuksen ylläpitämiseksi, myös Fryen kirjallisuusanalyysin välineiden kohdentamiseksi hakemustekstin kaltaisen yksittäisen tekstityypin käsittelyyn. Hakemuksen romanttisen narratiivin analyysissa hyödynnän seuraavaksi esittelemieni käsitteiden ja kategorioiden lisäksi myös muita huomioita romanttisen narratiivin luonteesta, joita Frye on esittänyt teoksissaan Anatomy of criticism ja The secular scripture. Nämä huomiot eivät kuitenkaan ole tekstin tulkinnalle yhtä keskeisiä tai romanttiselle narratiiville yhtä universaaleja kuin tässä esittelemäni kategoriat ja käsitteet, joten esittelen ne analyysin yhteydessä sitä mukaa kuin ne analyysia tukevat.

Frye lähtee Anatomy of Criticism -teoksensa ensimmäisessä esseessä liikkeelle Aristoteleen Runousopissa tekemästä jaottelusta, jonka Frye kokee jääneen Aristoteleen muuta draamateoriaa vähemmälle huomiolle. Tämä jaottelu koskee teoksessa toimivia ihmisiä, ja sitä, että nämä toimijat ovat välttämättä verrattavissa lukijakuntaan. Aristoteles (Runousoppi, 13) ilmaisee, että kuvattujen täytyy välttämättä olla joko parempia, huonompia tai samanlaisia kuin me, mitä Frye tulkitsee toimijuuden kautta. Toimijuus on Fryelle keskeinen kirjallisuuden piirre, ja hän määrittääkin fiktiivisen juonen koostuvan jonkun toiminnasta. Tämä määritelmä nostaa kirjallisuuden keskiöön paitsi toimijan, myös tavoitteellisen toiminnan. Paremmuus ei ole Fryelle moraaliin liittyvä määrittäjä, vaan kuvaa toimijan kyvykkyyttä aina komedian narrihahmon saamattomuudesta Raamatun Jumalan kaikkivoipaisuuteen. Tämä toimijan kyvykkyys on Fryen mukaan yksi mahdollisista määrittäjistä, joiden perusteella kirjallisuutta voidaan jaotella. Fryelle toimijan kyvykkyys tulee ilmi kahdessa eri suhteessa. Toimija voi olla kyvykäs tai kyvytön suhteessa muihin ihmisiin, osoittamalla tavanomaista suurempaa tai pienempää rohkeutta, kestävyyttä tai moraalista selkärankaa. Toinen kyvykkyyttä määrittävä suhde liittyy toimijan ympäristöön, jonka luomat esteet tai rajoitteet toimija on joko kyvykäs ylittämään, tai joiden rajoittama toimija on. (Frye 1957, 33–34). Toimijuuden erittelemiseksi on siis keskeistä määrittää mihin tavoitteellinen toiminta pyrkii, ja miten kyvykäs toimija on suhteessa muihin ihmisiin sekä ulkoisiin voimiin ja realiteetteihin.

Romanttisen ja traagisen narratiivin keskiössä Frye näkee liikkeen viattomuuden ja kokemuksen analogian välillä. Viattomuuden analogian hallitessa tarinankerrontaa korostuvat hyveet ja paheet, ja hyveellisyys usein palkitaan. Kokemuksen analogia puolestaan korostaa aineellista todellisuutta, jossa hyveiden kaltaisiin ideaaleihin sitoutuminen voi johtaa häviöön, ja on realistisemman kirjallisuustyylin ytimessä. Fryelle kumpikin näistä kerronnan tavoissa esiintyy niin romanttisen kuin

32 traagisen narratiivin klassisessa muodossa, mutta niiden välillä tapahtuva liike on eri narratiivin tyypeissä eri suuntaista. Traagisessa narratiivissa viattomuuden analogia toimii lähtöpisteenä, josta kuljetaan kokemuksen analogiaan. Tämän kaltaisessa narratiivissa narratiivin alun ideaalit väistyvät aineelliseksi kuvatun todellisuuden tieltä. Romanttisessa narratiivissa suunta on päinvastainen. Narratiivin lähtökohdan aineellinen maailma väistyy ideaaleja ajavan toimijan toiminnan seurauksena. Kokemuksen analogian raadollisesta maailmasta noustaan toiminnan kautta ideaaliin maailmaan. Romanttinen narratiivi soveltuu erityisen hyvin retoriikan välineeksi tulevaisuuskuviin liittyen, sillä kuvattu liike kokemuksen analogiasta viattomuuden analogiaan voidaan esittää liikkeenä parhaillaan koetuista ongelmista ja uhista kohti ideaalia maailmaa, jossa arkipäivän epämukavuuksia ja epävarmuuksia ei ole. (Frye 1957, 151; 162). Narratiivin erittelyssä on näihin käsitteisiin tukeutumalla mahdollista tunnistaa kokemuksen analogian uhkakuvat, viattomuuden analogian ideaali ja ne toimijan teot, jotka kuljettavat narratiivia yhdestä toiseen. Nämä käsitteet ovat keskeisiä Galwayn hakemuksen narratiivin tunnistamisessa romanttiseksi narratiiviksi, ja tällä narratiivilla tavoitellun mielikuvan erittelemisessä.

Frye (1957, 187) näkee romanttisessa narratiivissa tapahtuvan liikkeen kulkevan useimmin kolmessa vaiheessa. Näistä ensimmäinen on agon, konflikti, joka antaa toimijalle syyn toimia. Konflikti on vahvasti sidoksissa kokemuksen analogiaan, ja sysää toimijan matkalle kohti viattomuuden analogian ideaalia. Pathos, kuolinkamppailu, on taite kokemuksen ja viattomuuden analogioiden välissä, jossa narratiivin keskiössä oleva toimija kohtaa kokemuksen analogian uhkakuvat, ja joko voittaa tai häviää niille. Kuolinkamppailulla on taitekohdan lisäksi merkitys myös todistuksena toimijan sankaruudesta. Todistus sankaruudesta, anagrosis, ei välttämättä ole riippuvainen kuolinkamppailun lopputuloksesta, vaan jo kamppailuun osan ottaminen voi toimia osoituksena sankaruudesta.

Fryen narratiiviset kategoriat ovat johdettuja Aristoteleen Runousopissa tekemistä jaotteluista ja Euroopan ja Pohjois-Amerikan kulttuurialueen jakamien myyttien tarkastelusta. Frye itse keskeisissä teoksissaan hyödyntää narratiivista teoriaansa pääosin kaunokirjallisten teosten erittelyyn, keskittyen erityisesti antiikin draamoihin, 1800-luvun kirjallisuuteen, ja myytteihin. Tästä huolimatta on tarpeetonta rajata Fryen kategorioiden käyttöä menneisyyden kaunokirjallisuuden ja myyttien pariin. Pikemminkin kategoriat voi nähdä keinona tarkastella mitä tahansa johonkin narratiiviseen perinteeseen tukeutuvaa tekstiä osana laajempaa historiallista jatkumoa. Fryen kategorioita onkin hyödynnetty varsin monenlaisen analyysin tukena. Urho Lintinen16 hyödynsi maisterin-

16 Lintinen, Urho (2008). Terrorismin vastaisen sodan poliittisuus. Valtio-opin pro gradu -tutkielma. Saatavilla https://jyx.jyu.fi/handle/123456789/38220. Luettu 20.8.2019. 33 tutkielmassaan Fryen romanttisen narratiivin käsitteitä yksittäisten Tony Blairin puheiden asettamiseksi laajemman narratiivin raameihin. Elisa Busetto17 tarkasteli maisterintutkielmassaan Thaimaahan kohdistuvaan seksiturismiin osallistuvien ja sen parissa toimivien kansalaisjärjestöjen toimintaan liittyvää oikeuttamista Fryen narratiivisin välinein.

ECOC-hanketta käsittelevien tutkimusten joukossa on yhteen ECOC-hakemukseen keskittyvä narratiivinen analyysi poikkeuksellinen. Narratiiveja käsittelevät tutkimukset ovat pääsääntöisesti keskittyneet niihin narratiiveihin, joiden avulla EU:n instituutiot ovat hanketta hyödyntäen ajaneet tiettyjä eurooppalaisuuden ja eurooppalaisen kulttuurin kuvauksia. ECOC-hakemuksia hyödyntäneet tutkimukset taas ovat käsitelleet hakemuksia joko yhtenä osana jo toteutuneen ECOC-vuoden jälkiarviointia, tai tarkastellen useaa ECOC-hakemusta avatakseen hanketta yleisellä tasolla laajemmin, kuten esimerkiksi Giorgia Aiello ja Crispin Thurlow (2006) tekevät eritelläkseen hankkeen visuaalisia konventioita. Vuosille 2020–2033 hanketta määrittävän päätöksen muutokset hakemusten toimintaympäristöön luovat kuitenkin tarvetta selkeästi hakemuksiin keskittyvälle tarkastelulle. Uuden toimikauden keskeisimpiä avoimia kysymyksiä ovat: johtavatko muutokset arviointikriteereissä ja ohjeistuksissa muutoksiin ECOC-tapahtumien sisällöissä, ja kykenevätkö hakijakaupungit ajamaan omia intressejään tehokkaasti uusien hakemusraamien sisällä? Hakemuksiin keskittyvä analyysi on ensimmäinen vaihe näihin kysymyksiin vastaamisessa, narratiivisen analyysin ollessa Galwayn vahvasti tarinallistetun hakemuksen intressien ja niiden ajamisen keinojen erittelyyn poikkeuksellisen hyvin soveltua metodi.

17 Busetto, Elina. Legitimizing sex and empowerment: an interpretation of narratives. Valtio-opin pro gradu -tutkielma. Saatavilla https://jyx.jyu.fi/handle/123456789/47777#. Luettu 20.8.2019. 34

4. MAKING WAVES

Tarkastelen seuraavaksi yksittäistä ECOC-hakemusta pyrkien selvittämään, miten hakemuksen laatijat ovat vastanneet vuoden 2014 päätöksen aikaansaamiin muutoksiin. Valitsin analyysin kohteeksi vuonna 2020 ECOC-tapahtuman järjestävän Galwayn kaupungin Irlannista. Luettuani Galwayn hakemuksen, Making Waves, ensimmäisen kerran, olin vakuuttunut siitä, miten hakemus toimii tiukentuneiden arviointikriteerien ja hakemusta rajaavan hakemuslomakkeen luomien raamien sisällä silti vahvasti kerronnallisena, tarinanomaisena. Ottaakseni huomioon paitsi 2. osiossa esille nostamani hankkeen historian ja sen konventiot, ja laajentaakseni tarkastelua myös tähän tarinanomaisuuteen, päädyin hyödyntämään analyysissäni Northrop Fryen narratiivista teoriaa.

Keskitynkin analyysissäni näihin kolmeen asiaan: Miten Galwayn hakemus vertautuu ECOC- hankkeen historiaan? Miten Galwayn hakemus vertautuu hankkeen ja kaupunkimarkkinoinnin konventioihin? Millaisen narratiivin esitykseen hakemuksessa sitoudutaan? Tarkasteluni rajaaminen näihin seikkoihin tarkoittaa sitä, että monet hakemuksen sisältämät tutkimisen arvoiset seikat ovat oman analyysini ulkopuolella. Nämä tukevat kysymykset ovat kuitenkin olennaisia tutkimuskysymykseen vastaamiseksi: Miten vuosille 2020–2033 annetun päätöksen muutokset näkyvät yksittäisessä ECOC-hakemuksessa?

Galwayn hakemus Making Waves valikoitui analyysin kohteeksi tähän tutkimukseen usean syyn seurauksena. Ensimmäinen valintaa ohjanneista kriteereistä oli, että analysoitavan hakemuksen täytyy olla sellainen, joka johti ECOC-tittelin voittamiseen. Lähestyessäni sitä, millaisia hakemuksia EU:n raamit ja valintaprosessit tavoittelevat, on tämä kriteeri ilmiselvin tapa rajata potentiaalista aineistoa vastauksien löytämiseksi. Toinen kriteeri oli valita ECOC-tapahtuma, joka sijoittuu vuosille 2020–2033, sillä tällä aikavälillä Euroopan parlamentin ja neuvoston päätös 445/2014/EU määrittää hakemuslomakkeen, hakemusprosessin ja arviointikriteerit. Kuten osiossa 2.3 osoitin, johti päätös hankkeen tavoitteiden uudelleenmäärittelyyn, minkä vuoksi päätöstä edeltäviin ECOC-tapahtumiin keskittyvällä tarkastelulla olisi rajallisesti annettavaa tulevien ECOC-tapahtumien tarkasteluun. Päätöksestä voidaan nähdä alkaneen uusi aikakausi ECOC-hankkeelle, ja ensimmäiset tällä aikakaudella kulttuuripääkaupungiksi pyrkivät kaupungit ovat keskeisessä asemassa määrittämässä hakemuslomakkeen raameissa työskentelyä.

Nämä kaksi valintakriteeriä rajasivat aineiston keräämisen alkaessa vaihtoehdot Irlannin, Kroatian, Romanian, Kreikan ja Serbian kulttuuripääkaupunkeihin vuosille 2020-2021. Syyt Irlannin Galwayn valintaan analyysin kohteeksi ovat seuraavat: Galwayn kohdalla hakemusprosessia kuvaavaa englanninkielistä materiaalia oli eniten. Irlannin aiemmat ECOC-vuodet Dublinin (1991) ja Corkin (2005) kautta sijoittuvat Kreikkaa lukuun ottamatta laajimmalle aikakaudelle ECOC-hankkeen alusta mitattuna. Näin Irlantiin voidaan nähdä kasaantuneen institutionaalista tietoa ja osaamista ECOC- hankkeessa toimimisesta (vrt. Palonen 2010). Galwayn hakemuksessa kerrotaan mallia haetun aiemmista hakemuksista, mikä selkeästi linkittää hakemuksen laajempaan ECOC-hankkeen perintöön (Leeuwardenin (ECOC 2018) ja Aarhusin (ECOC 2017) hakemukset myös nimetään). Institutionaalisen tiedon olemassaolo ja vanhan ECOC-hanketta ohjaavan päätöksen alla toteutettuihin hakemuksiin viittaaminen tekee aiemmista ECOC-hakemuksista tunnistettujen konventioiden etsimisestä mielekästä. Niin konventioiden löytyminen kuin niiden puuttuminen Galwayn hakemuksesta luo pohjaa päätöksen 445/2014/EU vaikutusten tarkastelulle. Kaiken tämän lisäksi henkilökohtainen mielenkiintoni Irlantiin kasvoi Galwayn hakemusta lukiessani, sillä siinä esitetty kansallinen narratiivi sisältää monia jaettuja piirteitä Suomen kansallisen narratiivin kanssa.

Galwayn valinta kulttuuripääkaupungiksi eteni seuraavasti: Neljästä hakemuksen lähettäneestä ehdokkaasta raati suositteli vuoden 2015 marraskuussa kolmea Irlannin kulttuuriministeriölle, joka hyväksyi suosituksen ja pyysi näiltä ehdokkailta viimeisteltyjä hakemuksia. Nämä kolme ehdokasta olivat Galway, Limerick ja Waterford (joka edusti kolmen pienemmän kaupungin yhteistä hakemusta). Viimeisen valinnan näiden ehdokkaiden väliltä raati teki heinäkuussa 2016. Tässä tilaisuudessa kukin kaupunki sai 45 minuuttia aikaa esittää oman hakemuksensa, mitä seurasi 75 minuutin mittainen tilaisuus raadin kysymyksille. Raati ei saavuttanut konsensusta ehdokkaiden välillä, joten lopullinen valinta tehtiin suljetulla lippuäänestyksellä, jossa Galway valittiin kuudella äänellä kymmenestä. (Selection Panel 2016, 2–4).

Raati perusteli Galwayn valintaa käsittelemällä hakemusta ECOC-hankkeen määrittämiä kriteerejä vasten. Nostan esille muutaman raadin tekemän huomion, joihin palaan myöhemmin. Pitkän aikavälin kulttuurillisen strategian kriteerin kohdalla hakemusta kiitettiin siitä, että se näki ECOC- tapahtuman potentiaalisena status quon rikkojana. Taiteellisen ohjelman kohdalla paneeli näki huomionarvoisena laajempien eurooppalaisten teemojen käsittelyn ”kulttuuriin sopivalla tavalla18”. (ibid. 5–10).

18 Alkuperäisessä tekstissä: “in a culturally apt manner”. 36

4.1 Rakenne, teemat ja visuaalisuus

Making Waves noudattaa vuosien 2020–2033 ECOC-hakemuksia raamittavaa hakemuspohjaa pääosin, ottaen kuitenkin huomattavia vapauksia hakemuspohjan kysymysten painottamisessa. On varsin selvää, että hakemuspohjan laatijat odottivatkin osaan kysymyksistä pidempiä vastauksia kuin toisiin. Galwayn hakemuksessa vastaukset vaihtelevatkin muutamasta virkkeestä usean sivun mittoihin. Esimerkiksi vastaus ensimmäiseen kysymykseen, “Miksi kaupunkinne haluaa ottaa osaa kilpailuun Euroopan kulttuuripääkaupungin tittelistä?19”, on kolmen sivun mittainen. Pidemmät vastaukset on pilkottu hakemuspohjan ulkopuolisilla, hakemuksen laatijoiden omilla väliotsikoilla. Nämä väliotsikot ovat erotettu hakemuspohjan kysymyksistä suuremmalla kirjaisinkoolla ja tummemmalla värillä (kts. kuva 2).

Kuva 2 (Liite, 29)

Väliotsikoita hyödyntäen hakemus käsittelee nimellisesti hakemuspohjan kysymyksiin vastatessaan asioita, jotka eivät suoranaisesti vastaa näihin kysymyksiin, vaan esimerkiksi luovat hakemuksen narratiivia.

19 Alkuperäisessä tekstissä: ”Why does your city wish to take part in the competition for the title of European Capital of Culture?” 37

Vastatessaan hakemuspohjan ensimmäiseen kysymykseen Galway 2020 tuo ECOC-hankettaan määrittävän vision esille erittelemällä kolme keskeistä teemaa, joiden ympärille hakemus rakentuu. Nämä teemat ovat muuttoliike (migration), kieli (language) ja maisema/tila (landscape). Teemojen esitetään olevan keskeisiä myös muissa eurooppalaisissa ja maailman kulttuureissa, mutta niiden esitetään yhdistyvän Galwayssa ainutlaatuisella tavalla. (Liite, 4). Eurooppalaisen ulottuvuuden sisällyttäminen hakemuksen teemoihin vastaa arviointikriteereihin, mutta herättää kysymyksen siitä, onko kyseessä ECOC-hankkeelle tyypillistä eurooppalaisuuden saavuttamista nimeämällä asioita eurooppalaisiksi (mm. Sassatelli 2002, 444–446). Pääteemojen eurooppalaisuutta perustellaan laajemminkin, ja tuon näitä perusteita esille alla. Hakemus sisältää kuitenkin teemoja, joiden kohdalla eurooppalaisuus nimeämällä näyttää ilmeisemmältä, kuten seuraavan lainauksen esille nostamat leikkikenttien suunnittelu ja uusiutuva energia:

”This will be achieved through project strands engaging with playground design, green infrastructure, water management, renewable energy, landscape and heritage – all common European themes.” Liite (30)

Kolme pääteemaa toistuvat kuitenkin läpi hakemuksen luoden kuvaa jaetusta visiosta paitsi kulttuuriohjelman sisältämien erilaisten projektien, myös kuvatun Galwayn asukkaiden välillä.

Muuttoliike kuvataan hakemuksessa Galwayta määrittävänä piirteenä. Galwayn kerrotaan toimineen ja toimivan edelleen porttina Euroopan ja Amerikan välillä, korostetusti juuri maastamuuton keskuksena ja irlantilaisen diasporan syntymisen lähtöpisteenä. Kansainvälisyyttä korostetaan tilastoilla siitä, että 24% tämän päivän Galwayn asukkaista on syntynyt ulkomailla, ja että 18% Galwayn asukkaista ei käytä englantia tai iiriä ensimmäisenä kielenään. Kansainvälinen muuttoliike toimii monin tavoin pohjana kulttuurisen monimuotoisuuden, integraation ja poissulkemisen käsittelyyn. Näiden teemojen esitetään olevan keskeisiä paitsi Galwaylle, tehdään niistä myös luonteeltaan eurooppalaisia linkittämällä ne Välimeren alueen pakolaisten kautta laajempaan eurooppalaiseen muuttoliikkeeseen. Muuttoliike nähdään myös alueellisena tapahtumana, ja tämän teeman kautta hakemus käsittelee myös maaseudun väestönkatoa ja kaupungistumista. (Liite, 4; 21).

Kielen nostoa teemaksi perustellaan iirinkielen keskeisellä asemalla Galwayssa, kaupungin ollessa Irlannin ensimmäinen virallisesti kaksikielinen kaupunki. Samalla kielen keskeisyyttä perustellaan

38 niillä kaupungin huomattavilla kielivähemmistöillä, jotka eivät puhu ensimmäisenä kielenään kumpaakaan Irlannin virallisista kielistä. Kielivähemmistöjen kautta hakemuksessa käsitellään kulttuurillisia eroja ja integraatiota. Yhteys laajempaan eurooppalaiseen kontekstiin saadaan aikaan viittaamalla Euroopan muihin kielivähemmistöihin, usein abstraktilla tasolla esimerkiksi nimeltä mainitsemattomien vähemmistökielien häviämisen kautta, mutta myös tarkemmin, nostamalla esimerkiksi saamenkieliset alueet yhdeksi yhteistyökumppaniksi. (Liite, 5; 22).

Maiseman/tilan kuvaus on hakemuksessa monimuotoista. Galwayn alueen kuvataan muodostuvan monista eri maisemista. Luonnonmaisemaa kuvataan kauniiksi mutta karuksi. Maaseudun maisemasta nostetaan sille maatalous ja elämän uusintaminen, mutta myös maan autioituminen ja väestön väheneminen. Kaupunkimaisemasta nostetaan esille muun muassa keskiaikaan ulottuva historiallisuus. Merimaisema esitetään paitsi yhteydeksi muuhun maailmaan, myös linkiksi saaristoon, jonne osa kulttuuritapahtumista on sijoitettu. Maisemien pohjalta luodaan linkkejä luonnon ja sitä asuttavan väestön kulttuurin ja historian välille. (Liite, 4; 22).

Näiden kolmen kulttuuripääkaupunkivuoden sisältöä määrittävän teeman lisäksi hakemuksessa hyödynnetään myös sille nimen antavaa iskulausetta Making Waves (erityisesti Liite, 4; 96) sekä muita toistuvia ilmauksia. Aaltojen kerrotaan olevan metafora joukolle tekoja, joiden seurauksena monimuotoisuudesta löytyy solidaarisuus ja kulttuurillinen itseluottamus. Metaforaa toistetaan tekstissä muun muassa hyödyntämällä vuoroveteen liittyvää sanastoa (ebb and flow (mm. Liite, 9)), puhuttaessa seuraavan aallon taitelijoista ja nostamaan esille rannikkokaupungin yhteyttä merenkäyntiin. Hugh Millerin (2012, 21) tekemä huomio poliittisissa kampanjoissa käytetyistä symboleista auttaa tämän metaforan käsittelyssä: kandidaattien on hyvä assosioida itsensä positiivisten symboleiden kanssa huolimatta siitä, että alituisesti laajenevien käyttötarkoitusten myötä symboliikka menettää sisällöllistä merkitystään. Iskulauseen vakiinnuttaminen lukijan mieleen on tärkeämpää kuin sen merkityksen pitäminen selkeänä. Hakemuksessa esiintyy myös joukko teemoja, joita ei nosteta keskeisiksi, mutta jotka tukevat Galway 2020 -kampanjan pyrkimystä alueellisen erityislaatuisuuden ja samanaikaisen eurooppalaisuuden osoittamiseen. Yksi näistä teemoista on kansantarut ja suullisen tarinankerronnan kulttuuri, jota hakemuksen lopussa verrataan kreikkalaiseen myyttiin Europan ryöstöstä (mm. Liite, 38; 100). Toinen toistuvista ilmauksista on iirinkieliset sanat ja fraasit, jotka käännetään aina englanniksi, mutta samalla vahvistavat kuvaa kaksikielisestä alueesta sekä kielen tematiikan keskeisyydestä (mm. Liite, 5; 8).

Visuaaliselta ilmeltään Making Waves seuraa pitkälti ECOC-hankkeen visuaalisia konventioita, joita Aiello ja Thurlow (2006, 152–158) tunnistivat jo yli vuosikymmen sitten. Hakemuksessa esiintyy kaupunkikuvia, havainnekarttoja (Liite, 6; 27; 74) ja yksittäisten projektien havainnekuvia (Liite, 28; 38; 42–43; 46), jotka ovat hankkeelle ilmeinen visuaalisen hahmottamisen väline. Näiden lisäksi Aiellon ja Thurlow’n huomiot konventioista pitävät paikkansa lapsien käyttämisestä kuvissa (Liite, 34; 10; 48) ja kollaasien (Liite, 77) hyödyntämisestä. Lapset toistuvat hakemuksen kuvamateriaalissa, Aiellon ja Thurlow’n näkemyksen mukaan yleensä kulttuurit ylittävän symbolisen luonteensa vuoksi. Hakemuksen ainut kollaasi sijaitsee osallistamista käsittelevän osion yhteydessä, jolloin sillä on selkeästi Aiellon ja Thurlow’nkin kuvaama pyrkimys monimuotoisuuden esille tuomiseen. Kaikki hakemuksen visuaalinen materiaali ei esiinny Aiellon ja Thurlow’n toistuvasti käytettyjen resurssien listauksella. Hakemuksessa vahvistetaan fraasia ”Making Waves” tuomalla aaltoja ja merta esille myös visuaalisesti (Liite, 2; 20). Merimaisemia merikaupunki-brändin tukena hyödynnettiin myös Tallinnan (ECOC 2011) hakemuksessa (Lähdesmäki 2011, 141). Kiireisiä kaupunkikuvia (Liite, 41; 70) enemmän hakemuksessa hyödynnetään aavoja maisemia, joissa ei ole rakennuksia, tai joissa kaupunki sijoittuu kuvan taustalle (Liite, 10; 36; 50; 73). Myös hakemuksen kansikuvat kuuluvat tähän ryhmään.

4.2 Narratiivi

Narratiivinen tulkinta soveltuu Galwayn hakemustekstiin tekstin sitoutuessa narratiivisen tarinankerronnan elementteihin. Northrop Frye (1957, 52) nostaa näistä esille Aristotelesta mukaillen mythoksen tai juonen, ethoksen joka sisältää hahmot ja ympäristön, sekä dianoian tai ”ajatuksen”. Näistä viimeinen, dianoia, on Fryen (ibid.) mukaan narratiivin elementeistä keskeisin sellaisissa tarinoissa, joita tulkitessamme olennaisimmaksi kysymykseksi nousee: Mikä on tarinan tarkoitus?

Hakemusteksti on luonteeltaan tällainen tarina, sillä tavoitteellisena tekstinä sen tarkoitus ei ole luoda hyvää juonta tämän itsearvon vuoksi, vaan välineenä tavoitteiden saavuttamiseksi. Määritellessäni Making Waves tekstin hakemustekstiksi, rajaan samalla tarkasteluani hakemustekstien konventioiden tarkasteluun (vrt. Frye 1957, 96). En kuitenkaan viittaa näillä konventioilla siihen, että hakemustekstiä rajoittaisi jokin selkeä keinovalikoima, sillä kuten valtaosassa kirjallisuusgenreistä, on hakemustekstien laatijoillakin käytössään lähes rajaton määrä keinoja. Hyvässä hakemustekstissä nämä keinot ovat kuitenkin kohdistettuina niin, että ne vakuuttavat tekstin perusteella päätöksiä tekevät henkilöt tekstin esittämän vaihtoehtoisen tulevaisuuden toteutuskelpoisuudesta ja hyödyistä.

Hakemustekstejä tarkasteltaessa ECOC-hankkeen kontekstissa, ovat tietyt vakuuttamisen keinot vakiintuneet titteliä tavoittelevien kaupunkien käyttöön.

Dianoia, ajatus, koostuu Galwayn hakemuksen teemoista, eli muuttoliikkeestä, tilasta/maisemasta ja kielestä. Ne ovat hakemuksen esittämän myyntipuheen kiinnekohdat, joihin lähes kaikki hakemuksessa esiteltävät laajemmat kokonaisuudet pyritään liittämään. Rajattuihin teemoihin sitoutuminen, ja niiden toistaminen tekstin lävitse on vaikuttavan retoriikan toimintakeino, toiston tavoitellessa tekstin välittämien temaattisten määritelmien hyväksyntää niiden toistuvuuden vuoksi, niiden aikaansaamien ensireaktioiden sijaan (Frye 1957, 327). Teemat eivät kuitenkaan sellaisinaan muodosta narratiivia, vaan tämän saavuttamiseksi ne tulee liittää laajemmaksi mythokseksi, juoneksi. Frye (1957, 83) kuvaakin mythosta liikkeessä olevaksi dianoiaksi. Esitänkin seuraavaksi, miten Galwayn hakemus luo kuvaa traagisesta lähtöasetelmasta, alueella vallitsevasta ongelmien vyyhdistä, josta romanttisen sankarin piirteisiin verhottu Galwayn väestö voisi vapautua ECOC-hankkeen avulla.

Kirjoittajien kuvauksessa yhdistetään traagisen ja romanttisen tarinankerronnan luonnollista rytmiä, jota Northrop Frye (1957, 162) kuvaa viattomuuden analogian ja kokemuksen analogian vastakkainasettelun kautta. Viattomuuden analogia hyödyntää kerronnassaan fantastisempia elementtejä, korostaa hyveitä ja paheita, ja kulkee kerronnallisesti yleensä hyvän voittoon pahasta. Kokemuksen analogia taas viittaa realistisempaan ilmaisuun, jossa viattomuuden analogian ideaalit väistyvät realistiseksi ja aineelliseksi kuvatun todellisuuden tieltä. Frye sitoutuukin narratiivien tulkinnassaan näkemykseen siitä, että narratiivit kuvaavat liikettä yhdestä maailmasta toiseen, ja että tämä liike on joko nousevaa (ascent) tai laskevaa (descent) (Frye 1976, 37; 97). Romanttisen narratiivin kohdalla on kyse nousevasta liikkeestä, joka kulkee kokemuksen analogiasta viattomuuden analogiaan. Perinteisesti romanttisissa teksteissä kulku kokemuksen analogiasta viattomuuden analogiaan tapahtuu kolmen keskeisen vaiheen kautta: agon eli konflikti on syy sankarin toiminnalle, pathos eli kuolinkamppailu johtaa sankarin tai tämän vihollisen häviöön, ja anagrosis eli kuolinkamppailun kautta tapahtuva todistus, joka tekee selväksi sankarillisuuden (Frye 1957, 187).

Galwayn hakemusta luen viattomuuden analogiaan pyrkivänä, tekstin liikkuessa traagisesta lähtöasetelmasta kohti romanttista ratkaisua. Fryelle (1957, 192) agon tai konflikti on romantiikan perusta, sen arkkityypillinen teema. Tämä vakiintunut tapa rakentaa juonta johtaa hakemustekstin tapauksessa siihen, että konfliktia haetaan muun muassa kamppailusta abstraktein kulttuurin keinoin

41 väestönkadon kaltaista konkreettista ilmiötä vastaan. Romanttista narratiivia hyödyntämällä hakemustekstistä pyritään tekemään vaikuttavampi tekemällä siitä ”hyvä tarina” (vrt. Frye 1957, 139) puuttumatta niihin seikkoihin, joilla hakemuksessa osoitetaan kulttuurituotantokapasiteettia ja muita hankkeen materiaaliselle toteuttamiselle keskeisiä puolia. Romanttinen narratiivi soveltuu hakemustekstiin myös siksi, että romanssi on aina toiminut sinä kirjallisuuden muotona, jonka kautta nostalgista menneisyyttä tai ideaalia tulevaa kultaista kautta on tavattu kuvata (Frye 1957, 186). Ideaalin menneisyyden tai kullatun tulevaisuuden kuvaaminen on Fryen mukaan toiminut myös vallassa olevien asemaa oikeuttavan narratiivin välineenä:

“In every age the ruling social or intellectual class tends to project its ideals in some form of romance, where the virtuous heroes and beautiful heroines represent the ideals and the villains the threats to their ascendancy.” ibid.

Sitoutuminen perinteiseen tarinankerronnan muotoon kertoo uskosta sen toimivuuteen. Vakiintuneiden tarinankerronnan muotojen hyödyntäminen toimii Daniel Chandlerin (2002, 218) mukaan siksi, että olemme kulttuurillisesti sitoutuneet niiden hyödyntämiin merkkijärjestelmiin paitsi näiden järjestelmien hyödyntäjinä, myös niiden käytön ja vaikutuksen kohteina. Vakiintuneita narratiiveja hyödyntäneet tekstit eivät siis ole irrallisia laajemmasta kulttuurillisesta kontekstista, ja tämä laajempi kulttuurillinen konteksti tarjoaa välineitä narratiivien erittelyyn ja tulkintaan.

Hakemusteksti on tietenkin tavoitteellinen: sen toivotaan vakuuttavan paneelin jäsenet siitä, että Galway on kilpailijoitaan parempi valinnan kohde. Narratiivin rooli on järjestää hakemuksen perustelut valintakriteerien täyttämisestä sellaiseen muotoon, jossa yksittäiset seikat muodostavat yhtenäisen vision. EU:n ohjeistus vaatii uuden kulttuuritarjonnan taakse tällaista visiota, jolla idea myydään paitsi paneelille, myös kulttuuripääkaupungin väestölle, hanketta tukeville valtiollisille toimijoille ja lopulta ECOC-vuoden aikana laajalle eurooppalaiselle yleisölle.

Onnistunutta narratiivia määrittää vakiintuminen: Maarten Hajer (2005, 301–302) esittää muut narratiivit voittaneen narratiivin erottuvan siinä, että se vakiintuu normaaliksi sosiaaliseksi käytännöksi sillä tasolla, että sitä hyödyntävät toimijat voivat esittää narratiivista osittaisia tai tiivistettyjä versioita luottaen siihen, että kuulija on tietoinen laajemmasta narratiivista. Hugh Millerille voittanut narratiivi ei jää ainoastaan kielen ja ajatuksen tasolle, vaan toteutuu myös performanssina. Miller kuvaa tätä ilmaisun ja toiminnan symbioosina, narratiivin toteutuessa kielessä

42 ja toiminnassa, sekä alkaessa värittää kontekstista tehtäviä tulkintoja. (Miller 2012, 86). Onnistunut narratiiveja hyödyntävä vaikuttaminen toteutuu siis kahdella tasolla, korvaten kilpailevat narratiivit ja johtaen muutokseen käytöksessä. Lähestyessäni Galwayn hakemusta voin lähteä tulkitsemaan sitä onnistuneena narratiivina siltä osin, että se saavutti hakemuksen tavoitteen tuomariston vakuuttamisesta, ja voitti näin kilpailevien kaupunkien esittämät narratiivit. Osittain hakemustekstin narratiivin onnistumista on kuitenkin vielä mahdotonta arvostella, sillä ennen ECOC-vuoden alkua emme voi arvioida missä määrin narratiivi realisoituu toimintaa ohjaavaksi tai itse toiminnaksi, vaikuttaen galwaylaisten identiteettiin ja kaupungin ilmeeseen. Tämä näkökulma on kuitenkin tämän tutkimuksen ulkopuolella.

Narratiivien vaikuttavuus perustuu jaettuun merkkijärjestelmään, ja tämän vuoksi ne ovat välttämättä sidottuna jaettuun kulttuuriin (Miller 2012, 50). Globalisaation aikakaudella symboleiden tulkinnoissa tehtävät erot ovat Euroopan kaltaisessa suhteellisen tiiviissä yhteisössä kaventuneet, mutta nyanssit käytettyjen ilmaisujen välillä ovat edelleen erilaisia eri kulttuureissa. Narratiivisen lähestymistavan tulkitessa sanoja jo valmiiksi merkityksiltään joustavina ja kontekstisidonnaisina jo kulttuuripiirinsä sisällä (Miller 2012, 19), narratiivin sovittaminen sellaiseksi, että se välittää samankaltaista viestiä eri kulttuureista tuleville ihmisille, on haastavaa. Galwayn hakemuksen laatijat ovatkin joutuneet vastaamaan kulttuurisidonnaisuuden luomaan haasteeseen tasapainottelemalla jaetun eurooppalaisen symboliikan ja irlantilaista erityislaatuisuutta esille tuovan kansallisen kulttuuri-identiteetin ja sitä tukevan merkkijärjestelmän välillä. Tämä näkyy hakemuksessa selkeimmin niissä kohdissa, joissa hyödynnetään iirinkielisiä fraaseja (mm. Liite, 24) tai vahvemmin kulttuuriin sidottuja ilmaisuja, kuten ”Big House” (mm. Liite, 33).

Narratiivinen luentani Galwayn hakemuksesta perustuu siis Fryen kirjoituksissa keskeiseksi nousseiden ja romanttiselle narratiiville tyypillisten käsitteiden käyttämiseen hakemustekstin jäsentelyssä. Tunnistamalla näiden käsitteiden ja hakemustekstin välisiä yhteyksiä voin paitsi eritellä romanttisen narratiivin muotoa ja sen vaikuttavia tekijöitä, myös tunnistaa narratiivin ulkopuolisia, ja sitä haastavia elementtejä. Käsitteet joita lähden tunnistamaan ovat: Toimija, eli sankari, ja tämän kyvykkyys. Ongelma (agon) johon romanttisen narratiivin konflikti pohjautuu. Ratkaisu, joka koostuu hakemustekstissä kuolonkamppailusta (pathos) ja sen kautta tapahtuvasta toimijan sankaruuden osoituksesta (anagrosis).

4.2.1 TOIMIJA

”The people of Galway are known for their fierce independence, forged by resistance to centuries of oppression and the harshness of our way of life on the western edge of Europe. A spirit of self-sufficiency – of being in control of one’s own destiny – of being united in community, are qualities that distinguish the people of Galway like nowhere else in Ireland.” Liite (3)

Erittelen seuraavaksi hakemuksen antamaa kuvaa toimijuudesta. Galwayn hakemuksen laatijat ovat, kuten myös ylläolevasta lainauksesta käy ilmi, nostaneet hakemuksen keskeiseksi toimijaksi Galwayn asukkaat yhtenä entiteettinä, pyrkien määrittämään tätä joukkoa yhdistäviä tekijöitä, mutta myös sen monimuotoisuutta. Laajan ihmisjoukon toimijuuteen sitoutumisen seurauksena kuvattu toimija näyttäytyy kyllä äärimmäisen monimuotoisena, mutta on myös toisinaan keskenään ristiriitaisten määrittäjien kohde. Kuvaus kohdistuu kuitenkin kulttuurilliseen identiteettiin tekstissä, jossa tätä identiteettiä käytetään erityislaatuisuuden osoittamiseen. Frye (1957, 33) sanoo romanttisen narratiivin puitteissa toimijan, sankarin, toimivan maailmassa, jossa luonnonlait joustavat tarinan sitä vaatiessa. Keskiössä olevan juonen selviytyminen on lukijallekin niin tärkeää, että epäjohdonmukaisuuksien pitää kasvaa suuriksi, jotta ne alkavat häiritä juonta. Sitoutuminen juonen selviytymistä korostavaan romanttisen narratiivin piirteisiin mahdollistaakin hakemustekstille pienten ristiriitojen ohittamisen.

Galwayn hakemustekstissä sitoudutaan we-pronominiin tulevaa toimintaa kuvaavissa kohdissa. ”Me” on käytännöllinen rajaus toimijuudelle juuri sen monitulkinnaisuuden vuoksi. Toimijuuden voidaan ajoittain tulkita kuuluvan yksittäisen kulttuuritapahtuman järjestäjille, Galway 2020 -yhdistyksen jäsenille, Galwayn asukkailla, irlantilaisille tai laajimmillaan eurooppalaisille. Pääsääntöisesti tulkitsen me-toimijuuden pyrkivän hälventämään rajaa hakemuksen takana olevan Galway 2020 -yhdistyksen ja galwaylaisuuden välillä, jolloin ”me” viittaa juuri galwaylaisiin yhtenä entiteettinä. Hakemuksen toimijuuden rajauksista keskeisin on galwaylaisuuden määrittäminen, sillä muut toimijuuden piirteet tuodaan esille lähes poikkeuksetta galwaylaisuutta tarkentavina tai siihen verrannollisina. Aloitankin tekstin esittämän toimijuuden tarkastelun purkamalla sen antamaa galwaylaisuuden määritelmää.

Galwayn maantieteellinen sijainti on yksi keskeisiä toimijan määritelmän kiinnekohtia. Galwayn sijainti ”Euroopan läntisellä laidalla” sijoittaa toimijan Euroopan ja EU:n periferiaan, mikä nousee tärkeäksi määrittäjäksi hakemuksessa. Tämän etäisyyden sanotaan auttavan perspektiivin muodostamisessa niin itään kuin länteen, viitaten niin Eurooppaan kuin Amerikan mantereeseen. Periferian ajatukseen sitoutuminen mahdollistaa Galwayn ja galwaylaisten esittämisen osana Eurooppaa ja EU:ta, mutta rajatusti. (Liite, 3). Retorisena keinona periferiaan sijoittautuminen ei ole ECOC-hakemuksissa uusi. Yleisin hakemuksissa esiintyvä maantieteen retorinen uudelleen tulkinta on hakijakaupungin sijoittaminen Euroopan keskelle, tai sen sydämeen (Immler ja Sakkers 2014, 15). Keskiöön sijoittuminen oli yksi esimerkki Landryn (2000, 43) mukaan kaupunkimarkkinointia vaivaavasta kaava-ajattelusta (formula thinking). Tätä strategiaa ovat ECOC-hankkeen historiassa hyödyntäneet mm. Pécsin ja Marseillen kaltaiset kaupungit, jotka sijaintinsa ja historiansa puolesta ovat selkeästi Euroopan reuna-alueilla (Turşie 2015, 82). Päinvastaista maantieteen retorista uudelleen tulkintaa, hakijan esittämistä Euroopan rajakaupunkina, on myös esiintynyt ECOC- hakemuksissa. Lähdesmäki (2014a, 491) on tunnistanut tämänkaltaisen retoriikan käytön olevan tavanomaista erityisesti Itä-Euroopan entisissä sosialistisissa valtioissa. Periferian kautta hakemus ylläpitää suhteellista ulkopuolisuutta, jota hyödynnetään sekä Galwayn tarkkailijan roolin korostamiseen, että luomaan kuvaa alueesta, jota Eurooppa tai EU ei ole vielä täysin kesyttänyt tai integroinut. Palaan näihin huomioihin myöhemmin.

Periferian ajatusta hyödynnetään ja vahvistetaan myös muuttoliikettä käsiteltäessä, eli yhden hakemuksen pääteeman yhteydessä. Sijainnin Euroopan reunalla esitetään olevan samalla myös sijainti kansainvälisessä risteyskohdassa, mikä yhdessä galwaylaisuuden ja matkaajan roolin linkittämisen kanssa toimii selittävänä tekijänä niin maasta- kuin maahanmuutolle. (Liite, 3). Tämä on myös aiemmissa ECOC-hakemuksissa hyödynnetty retorinen keino, sillä periferiaan itsensä sijoittavat kaupungit yleensä kuvaavat itseään porttina tai risteyskohtana. ECOC-hankkeen kontekstissa tähän retoriikkaan ovat yleensä sitoutuneet kaupungit, jotka viittaavat tässä väitteessä asemaansa Euroopan ja Aasian tai Euroopan ja Afrikan rajalla (mm. Lähdesmäki 2014a, 491). Tässä suhteessa Galway on poikkeuksellinen, sillä kaupungin asema Euroopan rajakaupunkina viittaa selkeiten Pohjois-Amerikkaan. Galwayn kerrotaan kokeneen maastamuuttoa vuosisatojen ajan, mutta lähiaikoina kokeneen myös maahanmuuttoa eri puolilta maailmaa. Muuttoliikkeen nähdään tuottavan linkkejä ympäri maailmaa, ihmisten ollessa ”kulttuuriensa jatkeita”.20 Hakemuksen termistö muuttoliikkeen kohdalla on huomionarvoinen: termiä ”displaced person”, jota hakemuksen

20 Alkuperäisessä tekstissä: ”extensions of their native cultures”. 45 ulkopuolella käytetään yleensä pakolaisuuden yhteydessä, hyödynnetään hakemuksessa myös synnyinmaansa ulkopuolella asuvista eurooppalaisista ja galwaylaisista. (Liite, 4). ECOC- tapahtuman nähdään voivan toisaalta integroida niin Galwayhin muuttaneita, kuin sieltä pois muuttaneita ihmisiä (ibid.), ja toisaalta mahdollistavan kulttuurillisten erojen hyväksynnän (Liite, 13). Galwaysta lähtenyt muuttoliike on hakemuksessa sekä uhka, joka realisoituu alueellisena väestönkatona ja tulevaisuuden turvattomuutena, että osa pidempää historiallista jatkumoa, jonka seurauksena muodostuivat irlantilaiset diasporat. Nämä diasporat esitetään hakemuksessa positiivisesti, esimerkiksi Yhdysvaltojen ja Irlannin erityissuhteen perustana. Tasapainottelu maastamuuton eri aspektien välillä on tärkeää, sillä väestönkadon ollessa keskeinen hakemuksessa esiteltäviä ongelmia selittävä tekijä, ei siitä voi syyttää maan ulkopuolella eläviä irlantilaisia yhteisöjä haastamatta ECOC-hankkeen yleistä narratiivia kansainvälisyydestä ja jaetuista eurooppalaisuuden piirteistä. Samankaltaisesta ristiriidasta on kyse myös siinä, miten Galwayn hakemuksessa luodaan kielellisesti maantieteellistä sijaintia, korostamalla sekä sijaintia Euroopan laidalla, että keskellä kansainvälistä kulttuurien verkostoa:

”Galway may be at the edge of Europe but we also see ourselves as being at the center of a web of international cultures.” Liite (3)

Toinen galwaylaisuutta määrittävä tekijä on heikoista oloista tehty nousu. Tämä esitetään historiallisena niin pitkällä aikavälillä, tekstin viitatessa vuosisatojen alistukseen sekä luonnon armottomuuteen, kuin lyhyemmälläkin, kuten esimerkiksi viittauksessa taideyhteisön huomattaviin saavutuksiin rajallisista resursseista huolimatta. Erityisesti tässä näkyy romanttisen tarinankerronnan konflikti. Kokemuksen analogia näkyy koetuissa vääryyksissä eli alistuksessa ja resurssien puutteessa. Näistä traagisista lähtöasetelmista noustaan viattomuuden analogian keinoin, korostamalla materiaalisen kehityksen sijaan ratkaisevana tekijänä galwaylaista luonnetta ja yhteisöllisyyttä. Samalla luodaan pohjaa hakemuksen laajemmalle narratiiville: Galway ja galwaylaiset ovat aiemminkin suurista ongelmista huolimatta nousseet ahdingosta kukoistukseen, ja he ovat edelleen kykeneviä tekemään tämän kaltaisen nousun.

Toimijan suhde Eurooppaan ja eurooppalaisuuteen on monimutkaisten intressien alainen. Periferian ajatukseen sitoutuminen Galwayta määrittäessä luo tarpeen etääntymiselle eurooppalaisuudesta, jotta kaupungin roolia tarkkailijana voidaan legitimoida ja hyödyntää. Mutta kulttuuripääkaupungiksi valituksi tuleminen vaatii eurooppalaisen perspektiivin ja eurooppalaisen kulttuurin ajamista.

Kulttuurillinen rajanveto tuo jo itsessään mukanaan ongelmia: nähdäänkö eurooppalaisuus jonakin, jonka saavuttaminen vähentää galwaylaisuutta tai irlantilaisuutta, vai esitetäänkö kulttuuri-identiteetit monimuotoisempina ja toisiaan tukevina?

Toimija määritellään eurooppalaiseksi jo ensimmäisen alaotsikon alla. Eurooppalaisia yhdistäviksi tekijöiksi esitetään jaetut kokemukset ja arvot, vaikkakin myöhemmin jaettua arvokenttää rajataan käyttämällä ilmaisua ”meidän keskeiset arvomme eurooppalaisina”21 (kursivointi lisättynä) (Liite, 3). Eurooppalaisia yhdistävien arvojen rajaaminen vain nimeämättömiin ”keskeisiin arvoihin” mahdollistaa erilaisten arvojen linkittämisen galwaylaisiin niin, että raati voi halutessaan tulkita ne eurooppalaisiksi tai galwaylaisiksi. Tässä hyödynnetään aiemmin mainitsemaani ECOC-hakemusten konventiota eurooppalaisuuden osoittamisesta nimeämällä asioita eurooppalaisiksi (mm. Sassatelli 2002, 444–446). Eurooppalaisuuteen liittyen ECOC-hankkeeseen osallistumisen lopputulokseksi esitetään eurooppalaiseksi identifioituminen ilman kansallisen ylpeyden menettämistä (Liite, 5). Samaa ECOC-tapahtumaa edeltävää ulkopuolisuutta korostetaan myös esittämällä tapahtuman tavoitteeksi ensimmäisen todella eurooppalaiseksi itsensä määrittävän sukupolven luomisen (Liite, 16). Galwayn hakemus hyödyntää näin eurooppalaisuuteen tähtäävää retoriikkaa hyvin samalla tavalla, kuin Lähdesmäki (2014a, 483) tunnisti monien Itä-Euroopan hakijoiden tekevän. Eurooppalaisuuden ei esitetä olevan uhka olemassa olevalle identiteetille, mutta tämän tulkinnan on kuitenkin nähty olevan mahdollinen, tekstin noustessa erikseen sitä vastaan tehdessään selväksi eurooppalaisuuden ja kansallisen ylpeyden olevan yhteensopivia. Kulttuuri-identiteetin monimuotoisuuden mahdollisuus on kuitenkin myös haastettu hakemuksessa: esimerkiksi läheisen suhteen Yhdysvaltoihin nähdään olleen osittain este eurooppalaisen identiteetin hyväksymiselle (ibid). Tasapainottelu eurooppalaisen ja galwaylaisen välillä on kuitenkin osa hakemusta alusta loppuun, ja esimerkiksi ECOC-vuoden toiminnan valinnassa nähdään lähtökohtana autenttinen Galway ja irlantilaisuus, joiden kautta käsitellään jaettuja eurooppalaisia teemoja (Liite, 66). Hakemuksen tapaa käsitellä eurooppalaisuutta voi tarkastella Aiellon ja Thurlow’n (2006, 149) inklusiivisen ja ekslusiivisen eurooppalaisuuden kautta. ECOC-hankkeen vaatiessa inklusiivisuutta kyetäkseen yhdistämään erilaisia kulttuureja eurooppalaisuuden alle, voi Galwayn hakemus esittää eurooppalaisuuden jaettujen kokemusten ja arvopohjan kautta saavutettavana asiana. Nämä kriteerit hakemuksen toimija täyttää jo valmiiksi, mutta tästä huolimatta toimija ei identifioidu eurooppalaiseksi. Se mitä suljetaan eurooppalaisuuden ulkopuolelle määrittää eurooppalaisuutta luomalla sille rajoja, sekä tarjoaa perusteita sille, miksi eurooppalaisuus on tavoittelemisen arvoista.

21 Alkuperäisessä tekstissä: ”our core values as Europeans”. 47

Suhde Yhdysvaltoihin esitetään eurooppalaisuudelle vastakkaisena, mutta kansallinen ja alueellinen identiteetti nähdään sen sijaan jonain, jonka kautta eurooppalaisuus on toteutettavissa.

Hakemus antaa galwaylaisuudelle myös muita määrittäjiä, jotka eivät ole tekstissä yhtä keskeisessä roolissa kuin periferia, vähästä nouseminen ja suhde eurooppalaisuuteen. Näihin sivuroolissa oleviin määrittäjiin kuitenkin tukeudutaan mm. yksittäisten kulttuuritapahtumien oikeuttamisen yhteydessä. Tällaisia määrittäjiä ovat Irlannin suullisen tarinankerronnan perinne (Liite, 38; 40), joka esiintyy tekstissä taustoittamaan pyrkimyksiä uudenlaisille tarinankerronnan muodoilla, sekä yhteisö ja kirkko (Liite, 36), jotka esitetään historiallisesti identiteetille keskeisinä, mutta tätä rooliaan menettäneinä.

Fryen (1957, 33) mukaan romantiikan sankari ilmentää hyveitä, jotka sellaisenaan ovat meille vieraita, mutta romanttiselle narratiiville keskeisiä. Tarinan keskeinen toimija on valittujen hyveiden personifikaatio, ja nämä hyveet ohjaavat hänen toimintaansa materiaalista ympäristöä enemmän. Toisin sanoen hyveet ohjaavat toimijaa ethoksen rajoitteita enemmän. Hakemuksessa toimijan hyveiksi voidaan tulkita empatia ympäröivää kurjuutta kohtaan, ja siitä nouseva halu alueellisen hyvinvoinnin lisäämiseksi. Keskeisiksi hyveiksi, ja samalla galwaylaiset muista eurooppalaisista erottaviksi piirteiksi, on nostettu ulkopuolisuus ja materiaalisesta puutteesta huolimatta saavutettu hyvinvointi. Ulkopuolisuuden itsensä nostaminen hyveeksi olisi epätavallista, mutta hakemuksessa sen esitetään johtavan uudenlaisen näkökulman kehittymiseen. Ulkopuolisuus tarjoaa Galwaylle erityislaatuisen kyvyn tulkita Euroopan kohtaamia uhkia ja mahdollisuuksia, ja jakaa tätä tulkintaa muille EU-jäsenvaltioille. Jälkimmäinen näistä määrittävistä piirteistä esiintyy myös usein suomalaisen kansankuvauksen keskiössä: myöhäinen teollistuminen, sotien jälkeinen agraarinen yhteiskunta nähdään alkuasetelmana, jota vastaan 1900-luvun lopun nopeaa teollistumista ja teknologista kehitystä heijastetaan. Kansallisidentiteetin osittainen rakentaminen erityislaatuisuudella ahdingosta nousemiselle vaatii selityksen sille, miten kansa on voinut joutua ahdinkoon erityislaatuisuudestaan huolimatta. Galwayn ahdingon syytä ei erikseen käsitellä, mutta sen voidaan tulkita olevan seurausta joukosta hakemuksen esittämistä menneistä ja nykyisistä uhkakuvista, kuten vuosisatojen sorrosta, karusta luonnosta, taloudellisista leikkauksista, väestönkadosta ja arvokentän muutoksesta. Hakemuksessa historiallista ahdinkoa selittävät tekijät ovat sivuosassa, mutta ne kuitenkin löytyvät tekstistä. Niitä tarvitaan selittämään ahdingon olemassaolo, mutta liiallinen keskittyminen niihin veisi painopisteen pois kulttuurillisesta potentiaalista ja viattomuuden analogiaan nousemisesta, sekä haastaisi kansallisen erityislaatuisuuden kuvauksen. Ahdingon olemassaolo ei vähennä toimijan sankaruutta, vaan tukee sitä toimijan pyrkiessä aktiivisesti eroon ahdingostaan:

”With the rise of the romantic ethos, heroism comes increasingly to be thought of in terms of suffering, endurance, and patience, which can coexist with such weakness, whatever other kinds of strength it may require.” Frye (1976, 88)

Ahdingon syyn sijoittaminen toimijaa määrittävien piirteiden ulkopuolelle on olennaista tekstin vaikuttavuuden kannalta. Erityislaatuisuus on edelleen mahdollista, jos ahdinko nousee toimijan ulkopuolisista tekijöistä. Hakemuksen toimija sijoittuu Fryen toimijan kyvykkyyttä määrittelevällä asteikolla kahden määritelmän väliin: toisinaan toimija kykenee hallitsemaan ympäristöään olemalla tekstiä lukevaa ”tavallista ihmistä” parempi ja hyveellisempi, kun taas toisinaan hän on ympäristönsä uhri huolimatta siitä, että on tätä lukijaa parempi ja hyveellisempi. Lukijakuntaa suurempi mutta silti ympäristön rajoittama kyvykkyys tekee hahmosta samaistuttavan, mutta mahdollistaa toimijalle yksilön kyvyt ylittävän toiminnan. Fryen mukaan tällainen toimija on tyypillinen legendoissa, kuten kansantaruissa. (Frye 1957, 33–34). Kansallisidentiteettiä kuvaavassa ja samalla sitä luovassa tekstissä tämän kaltaiseen toimijuuteen sitoutuminen soveltuu tavoitteellisen narratiivin vahvistamiseen. ECOC-tapahtuma on tällaisen toimijuuden kohdalla työkalu tai resurssi, mikä mahdollistaa ympäristön hallinnan. Hakemuksessa hanke mahdollistaa siis siirtymisen osittaisen kyvykkyyden piiristä ympäristöä hallitsevaan laajaan kyvykkyyteen.

4.2.2 ONGELMA

”Jokaiseen tragediaan kuuluu toisaalta ongelma, toisaalta ratkaisu.” Aristoteles (Runousoppi, 49)

Tämä Aristoteleen toteamus pitää edelleen paikkaansa valtaosassa läntistä tarinankerronnan perinnettä, jonka vuoksi tarkastelen seuraavaksi hakemuksessa esiteltyjä uhkakuvia narratiivin vaatimina ongelmina. Fryen erittely narratiivin kulusta tragedian ja romantiikan välillä perustuu ajattelulle kahdesta toisiaan täydentävästä vastaparista: viattomuuden ja kokemuksen analogioista. Näiden välinen konflikti, Fryen (1957, 192) agon, tuo narratiiviin dramatiikkaa, ja ohjaa sitä eteenpäin, toisen analogian voittoon. Yksi narratiivin mahdollisista kulkusuunnista on ”realismin maailmasta”, kokemuksen analogiasta, nouseminen romantiikan maailmaan, viattomuuden analogiaan. (Frye 1957, 162).

Tarkastelen hakemustekstin uhkakuvia kokemuksen analogiana, josta nähdään mahdolliseksi nousu viattomuuden analogiaan. Tarkoitan tällä sitä, että tulkitsen hakemuksen esittelemät ongelmat erilaisen tekstityypin edustajina kuin niitä seuraamaan tarjotun todellisuuden. Hakemuksen romanttinen narratiivi kulkee konkreettisemmasta abstraktimpaan, tämän hetkisistä uhkakuvista ideaalin tulevaisuuskuvan maailmaan. Romantiikan sankareiden ollessa hyveiden personifikaatioita, ja samalla ainakin osittain tavallisen ihmisen ja luonnonlakien tavoittamattomissa, tarvitaan puoleensa vetävän narratiivin luomiseksi myös yhtä lailla vahvoja uhkia ja vihollisia, jotka tarjoavat sankarin edustaman ideaalin toteutumiselle vastavoimaa ja mahdollistavat konfliktin (Frye 1957, 186).

Hakemus lähtee liikkeelle ongelmasta: EU:n hakemuslomakkeen ensimmäisen kysymyksen pyytäessä perusteita kulttuuripääkaupungiksi haluamiselle, vetoaa Galwayn hakemus tarpeeseen kulttuurillisen kapasiteetin avaamisesta:

”– – for reasons of economic social and sectoral challenges, [cultural capacity] is inhibited from finding full expression in citizenship, inclusivity and creativity” Liite (3)

Koska ECOC-hankkeen painopiste on eurooppalaisen yhtenäisyyden ja yhteistyön korostamisessa, liitetään hakemuksessa paikallisesti koettu uhka laajempaan eurooppalaiseen kontekstiin, nimeämällä Galwayn kohtaamat haasteet yleiseurooppalaisiksi:

”We identify in ourselves a microcosm of the current existential challenges to Europe” Liite (3)

Frye (1976, 104) näkee romanttisen narratiivin lähtevän usein liikkeelle laskevasta (descent) liikkeestä, eli ongelmien kasautumisesta. Lähtökohtana tämä paitsi mahdollistaa ja perustelee myöhemmän nousevan (ascent) liikkeen, mutta myös tekee lukijalle selväksi, mitkä uhat toimijan tulee tarinassa voittaa. Galwayn kohtaamat haasteet ovat kulttuurillinen stagnaatio, luottamuspula, vanhan yhteiskunnan katoaminen ja muuttoliikkeen ongelmat. Tämän lisäksi eurooppalaisen viitekehyksen ulkopuolella tekstissä tuodaan esille myös joukko hankkeen toteuttamiseen liittyviä ongelmia. Hakemus vastaa sekä pitkän aikavälin kehityksen, että eurooppalaisen ulottuvuuden arviointikriteereihin yhdellä kertaa esittämällä ongelmansa eurooppalaisina, mutta ECOC-hankkeen kautta muutettavina. Arviointikriteereiden pohjalta olisi mahdollista muotoilla hakemus myös niin,

50 että paikallisiin ongelmiin vastataan eurooppalaisin ja eurooppalaistavin välinein, mutta ottaen huomioon esimerkiksi Cork 2005 -tapahtuman saaman kritiikin paikallisiin ongelmiin keskittymisestä (Turşie 2015, 76), on ongelmien nimeäminen eurooppalaisiksi turvallisin ratkaisu.

Kulttuurillisen tuotannon epävakaus esitetään taloudellisiin realiteetteihin linkittyneenä, ainakin osittain säästäväisyyspolitiikan (austerity) ja kansallisen kulttuuribudjetin leikkaamisen seurauksena (Liite, 3; 29). Tämä yhteys luo ongelman, johon ECOC-tapahtuman kaltainen kertaluontoinen taloudellinen avustus voisi toimia vastauksena. Samalla keskeisen ongelman rajaus kulttuurilliseen tuotantoon on ECOC-hankkeen intresseihin mukautettu. Kulttuuripääkaupungin kasvavan turismin ja valtiollisen tuen tuoma taloudellinen hyöty olisi osaltaan ratkaisu taloudellisiin ongelmiin, mutta taloudellisten intressien asettaminen hankkeen keskiöön kyseenalaistaisi ECOC-hankkeen vakiintunutta narratiivia kulttuurin keskeisyydestä. ECOC-hankkeen painopisteen ollessa kulttuurintuotannossa, ja hakemuksen sitoutuessa tähän painotukseen, esitetään taloudelliset ongelmat ongelmina pääasiassa sen vuoksi, että ne heikentävät kykyä kulttuurintuotantoon.

Luottamuspula on vastaavasti yhteydessä vanhan yhteiskunnan katoamiseen. Tämä vaikutus sijoitetaan vahvasti Galwayn kaupunkia ympäröivälle alueelle, jossa asuvien kerrotaan kokevan, että valtion ja kirkon johtajat ovat pettäneet heidät. Hankkeen yhteydessä tehdyllä kuulemiskierroksella kerrotaan kuullun rikkoutuneista unelmista, toivottomuudesta ja kyynisyydestä demokratiaa kohden. Näitä ongelmakohtia kuitenkin pehmennetään antamalla niille vastapainoksi rohkeus, toivo ja kyvykkyys (self-reliance). (Liite, 3). Tämä vastakkainasettelu tuo esille sekä tilassa vaikuttavan epätoivon, että muistuttaa samalla galwaylaisen toimijan aktiivisuudesta ja erityislaatuisuudesta. Ongelmana luottamuspula alustaa osallistamisen kasvattamiseen pyrkiviä toimia, ja näin osaltaan luo pohjaa arviointikriteereihin vastaamiselle.

Muuttoliike on yhtä lailla yhteydessä vanhan yhteiskunnan katoamiseen. Hakemuksen mukaan Galwayn kaupungin ja sen ympäröivien alueiden kehityksessä on kasvava kontrasti: kaupungin ollessa eloisa, kokee sitä ympäröivä seutu vastaavasti taantumaa. Tämä on seurausta paitsi kaupungistumisesta myös maastamuutosta (Liite, 12). Tämä kasvava alueellinen ero nostetaan hakemuksessa itsessään ongelmakohdaksi (Liite, 15). Maahanmuuton ongelmaksi taas esitetään integraation puute, ja sen kerrotaan johtaneen yhdessä maastamuuton kanssa ristiriitaisiin tunteisiin, mukaan lukien ”epävarmuuden ja paikkansa menettämisen tunteisiin22” (Liite 3–4). ECOC-

22 Alkuperäisessä tekstissä: “– – a sense of uncertainty and displacement.” 51 tapahtuman kautta Galway 2020 esittää haastavansa maahanmuuton lieveilmiöt muun Euroopan kamppaillessa ”sulkeutuvia rajoja, sydämiä ja mieliä vastaan23” (Liite, 15). Ilmiö nimetään eurooppalaiseksi, ja siihen vastaaminen ECOC-tapahtuman toimilla on täten sekä paikalliseen ongelmaan vastaamista, kuin eurooppalaisen ongelmanratkaisun kokeena toimimista.

Hakemuksen keskeisen narratiivin ongelmanasettelusta erillään on toinen ongelmien ja uhkien ryhmä. Nämä ongelmat koskevat ECOC-tapahtuman toteutusta, ja nousevat usein esille suoraan hakemuslomakkeen kysymyksenasettelun kautta. Tulkitsen näiden ongelmien olevan hakemuksen keskeisen romanttisen narratiivin ulkopuolisia, sillä niiden käsittely ja asettelu eroavat muusta tekstistä. Ensinnäkin ne sijoittuvat romanttisen narratiivin ulkopuolelle ajallisesti. Romanttisen narratiivin uhkakuvat ovat sijoitettuina kirjoitushetkeen. Viatto- muuden analogian voitto on kuvattuna vain potentiaalisena, ECOC-tapahtuman mahdollistamana, tulevaisuutena. Toteu- tukseen liittyvät ongelmat eivät ole romanttisen narratiivin ongelmien tavoin kirjoitushetken ongelmia, vaan myös ne ovat potentiaalisessa tulevaisuudessa, niiden ollessa riippuvaisia ECOC- tapahtuman toteutumisesta. Ajallisuuden lisäksi ne etäännytetään romanttisesta narratiivista muilla keinoin, sillä romanttisen narratiivin osana ne haastaisivat tavoitellun viattomuuden maailman. Tämä saadaan aikaan tekstin rakenteen kautta, toteutukseen liittyvien ongelmien ollessa painottuneet erityisesti hakemuksen loppupuolen osioihin ”5. Kuva 3 (Liite, 71)

23 Alkuperäisessä tekstissä: “– – against a wave of closing borders, hearts and minds – –“ 52

Capacity to deliver and outreach” ja ”6. Management”, jotka siirtyvät hakemuslomakkeen kysymysasettelussakin poispäin vision ja tematiikan piiristä kohti käytännön toteuttamisen ja sitoutumisen määrittämistä. Näissä osioissa nähdään siirtymä pois tarinallisista tehokeinoista. Tässä voi nähdä tapahtuvan selkein jako osiossa 3 esille nostamieni hakemuksen sisältämien tekstityyppien välillä. Siinä missä hakemuksen varhaisemmissa osissa markkinointi- ja sopimusteksti ovat nivottuna yhdeksi kokonaisuudeksi, jossa esimerkiksi markkinointitekstin mielikuvilla tuetaan sopimuksella luvattua kulttuuritarjontaa, ovat hakemuksen 5. ja 6. osa selkeämmin puhdasta sopimustekstiä. Tämän vuoksi myös ongelmanasettelu on yhtä lailla erilaista, sillä ongelmaa seuraa useimmiten selitys siitä, miten hankkeen järjestäjät pyrkivät sen ratkaisuun. Toteutukseen liittyvät ongelmat ratkaisuineen eivät näin pääse muodostamaan laajempaa kilpailevaa narratiivia, vaan ne esiintyvät yksittäisinä ongelma-ratkaisu -kokonaisuuksina (kts. kuva 3).

Useaa tekstityyppiä tukevan useamman narratiivin samanaikainen esiintyminen ei kuitenkaan välttämättä olisi ongelma. Miller näkee vakaan narratiivin kykenevän hyväksymään yhteiskunnassa vaikuttavien todellisuuksien moninaisuuden ja muiden, niin tukevien kuin kilpailevien, narratiivien olemassaolon. Hän kuitenkin huomauttaa, että hallinnollisissa narratiiveissa tämä on epätavallista, sillä narratiivien pluraliteetin hyväksyminen vaatii sananvapautta korostavaa tarinankerrontaa (free- speech storyline) narratiivin ytimeen. (Miller 2012, 86). Tällaiseen narrattiiviin sitoutuminen olisi kuitenkin Galwaylle edullista, sillä narratiivien pluraliteetti on ECOC-ohjeistuksen tavoittelemaa yleiseurooppalaista kulttuurinilmaisua tukevaa. Hakemukseen mahtuu samanaikaisesti historiallisia uhkakuvia vastaan taisteleva koko Galwayta edustava ”me”, että ECOC-tapahtuman järjestämiseen liittyviä poliittisia ja taloudellisia haasteita ratkaiseva rajatumpi, Galway 2020 -yhdistyksen käsittävä ”me”.

4.2.3 RATKAISU

”– – we are now reaching out to Europe, as never before, for solidarity and inspiration, not expressed in EURO but in the more enduring currency of culture.” Liite (3)

”The narrative themes of ascent are – – those of escape, remembrance, or discovery of one’s real identity, growing freedom, and the breaking of enchantment.” Frye (1976, 129)

Kuvatessaan ECOC-tapahtuman aikaansaamia seurauksia on Galwayn hakemuksella kaksi keskeistä pyrkimystä. Ensinnäkin sen tulee vastata hakemuksessa esitettyihin ongelmakohtiin, jotta ECOC- tittelin saamisesta saavutettavat edut olisivat valintaraadille selkeitä ja narratiivi olisi eheä. Toisekseen sen tavan, jolla näihin ongelmiin vastataan, tulee vastata mahdollisimman hyvin annettuihin arviointikriteereihin. Galwayn hakemuksen kuvauksesta kulttuurikaupungiksi valituksi tulemista seuraavista tapahtumista on nähtävissä yhtäläisyyksiä onnistuneimpiin moderneihin ECOC-tapahtumiin, ja samalla se selittää osittain sitä toimijuutta, johon narratiivissa sitouduttiin. Kulttuurikaupungin tittelin kerrotaan hakemuksessa olevan katalyytti, joka saa alueelliset ja kansalliset toimijat aktivoitumaan jo annetun suunnitelman toteuttamiseen (Liite, 100). Voimavarat esitetään siis jo olemassa oleviksi, ja ECOC-tapahtuma syyksi, jonka vuoksi ne aktivoituvat. Tämä ensinnäkin tukee annettua kuvaa erityislaatuisesta toimijasta, jolle vähästä nouseminen on yksi keskeisistä identiteettiä määrittävistä tekijöistä. Toisekseen se vastaa ECOC-hankkeen todellisuutta suunnittelun ollessa täysin ehdokkaiden vastuulla, ja budjetin ollessa, erityisesti hankkeiden budjettien kasvaessa, lähes täysin alueellisen ja kansallisen rahoituksen varassa.

Osiossa 2.2.1 nostin esille sen, että ECOC-hankkeen kaltaisiin hakemusprosesseihin mukaan lähteneillä kaupungeilla on tarve perustella itse hakemusprosessi hyötyä tuottavana toimintana, jotta osallistuminen on helpommin oikeutettavissa häviön kohdalla. Samankaltaiseen hakemisen legitimointiin sitoudutaan myös Galwayn hakemuksessa, jossa hakemusprosessin kuvataan aikaansaaneen pysyviä vaikutuksia osallisuudessa, mikä samalla myös tukee kuvausta galwaylaisista muutosta aikaansaavina toimijoina:

”Our preparation for the ECOC 2020 bid has generated such enthusiasm and awareness of culture that it has become a major factor in shaping attitudes to culture throughout our society and irrespective of the outcome of our bid, will leave behind a lasting cultural imprint.” Liite (7)

Varsinaisen ECOC-vuoden aikana muutokset tapahtuvat kulttuuriohjelman kautta. Juuri hakemuksen erittelemien kulttuuriohjelman valintakriteerien kautta voidaan nähdä hakemuksen selkein pyrkimys ECOC-hankkeen valintakriteereihin vastaamiseen. Kulttuuriohjelman kriteerit ovat “taiteellinen

54 arvo”, “eurooppalainen ulottuvuus”, “kyvykkyyden rakennus/perintö”, ”toteutettavuus”, ”yleisön osallistuminen” ja ”relevanssi” (Liite, 66).24

Yhteys ECOC-hankkeen arviointikriteereihin, eli ”panos pitkän aikavälin strategiaan”, ”eurooppalainen ulottuvuus”, ”kulttuuri- ja taiteellinen sisältö”, ”toteutusvalmius”, ”vaikutusala”, ja ”hallinto”, on selvä. Kulttuuriohjelmassa tavoitteena oleva eurooppalaistuminen nähdään ilmeisesti toteutuvan eurooppalaisiksi nimettyjen teemojen käsittelyn kautta. Eurooppalaisuus yksittäisissä projekteissa perustuu projektien kuvausten perusteella pääosin yhteistyöhön eurooppalaisten taiteilijoiden ja toimijoiden kanssa, sekä koettuihin yhteyksiin eurooppalaisiin saaristokansoihin ja vähemmistökieliryhmiin (Liite, 22–23). Kulttuurillisen aktiviteetin kasvun esitetään itsessään toimivan voimaannuttavana ja sosiaalista muutosta aikaansaavana tekijänä (Liite, 15). ECOC- hankkeen valinkriteereissä esiintyvä vaatimus poliittisen tuen olemassaolon ja vakauden osoittamiseksi on haastavaa hakemuksen edeltäessä ECOC-tapahtumaa vuosilla. Galwayn hakemuksessa tätä poliittisen tuen olemassaoloa ja vakautta osoitetaan yhteistyökumppaneiden allekirjoittamilla ”Memoranda of Understanding” -sopimuksilla (Liite, 6).

Retorisesti hakemus sitoutuu vahvasti arviointikriteerinä olevaan pitkän aikavälin kehitykseen, kuten toteamus ”juuri Galway 2020 -tapahtuman perintö tulee lopulta olemaan muutosta aikaansaava tekijä25” (kursivointi lisätty) (Liite, 4), tekee selväksi. ECOC-tapahtuma ECOC-vuotta pidempää muutosta aikaansaavana tekijänä ei ole uusimman päätöksen myötä muodostunut tapa esittää hankkeen potentiaalia. Kuten osiossa 2.1 esitin, jo Glasgow (ECOC 1990) aloitti hankkeen hyödyntämisen kulttuurillisen tuotannon elävöittämiseen ja pitkäaikaiseen vahvistamiseen (mm. Lähdesmäki 2014b, 17–18). Galwayn hakemuksessa tätä pitkän aikavälin kehityksen tavoittelua kuvataan turvalliselta, perinteiseltä polulta tehtäväksi ”radikaaliksi poistumiseksi26” (Liite, 15). Tästä retorisesta asetelmasta huolimatta raati kritisoi Galwayn hakemusta siitä, että ongelmanasettelun kautta kuvattua status quota murtaakseen se korostaa lähinnä olemassa olevan kulttuurituotannon lisäämistä (Selection Panel 2016, 6). Raadin päätös uudenlaisen kulttuurituotannon korostamiseksi valinnan yhteydessä ohjaa tulevia hakijakaupunkeja suunnittelemaan ohjelmaansa alueellisten perinteiden ulkopuolelta, avaten eurooppalaiselle perspektiiville lisää potentiaalista tilaa.

24 Alkuperäisessä tekstissä: “artistic merit, European dimension, capacity building/legacy, deliverability, public engagement, relevance” 25 Alkuperäisessä tekstissä: ”The legacy of Galway 2020 is what will be ultimately transformative”. 26 Alkuperäisessä tekstissä: ”– – radical departure from a safe traditional path”. 55

Hakemuksen erittelemät vaikutukset, joita hankkeella valinnan kautta olisi, ovat vaihtelevassa suhteessa sekä keskeisiin teemoihin, että EU:n odotuksiin. EU:n odotuksiin vastataan esittämällä kulttuurituotannon monimuotoistuminen sen eurooppalaistumisen kautta, ja luomalla tapahtuman kautta ensimmäinen eurooppalaiseksi identifioituvan sukupolvi. Teemoihin liittyvistä seurauksista suoria ovat oletukset iirinkielen puhujamäärän kasvusta, uusien kulttuurituotantoa ja yhteiskunnallista osallistamista mahdollistavien tilojen synnystä ja vahvistuvasta kulttuurista maahanmuuttajien integraatiota aikaansaavana voimana. Esitettyihin ongelmiin annettiin myös epäsuoria ratkaisuja, jotka seuraavat yhteisöjen ja kulttuurillisen infrastruktuurin vahvistumisesta ja laajemmasta osallistamisesta yhteisöjen jäsenten toimesta. Näiden muutosten esitetään antavan alueelle ja yhteisöille paremmat valmiudet kohdata ongelmiaan, mutta tämän konkreettisemmin ongelmiin vastaamista ei eritellä. (Liite, 5; 14–16). Narratiivin voi myös nähdä jäävän keskeneräiseksi, sillä ratkaisu jää tekstin ulkopuolelle potentiaaliseen tulevaisuuteen. Tämän vuoksi Fryen (1957, 162) esittämä kulku ongelmasta ratkaisun kautta viattomuuden analogiaan jää kesken. Vasta ECOC-tapahtuma on se kuolinkamppailu, jonka kautta galwaylaiset voivat osoittaa hakemuksessa kuvatun sankaruutensa. Retorisena keinona tämä keskeneräisyys on vahva, sillä se siirtää vastuun narratiivin loppuun saattamisesta valinnasta päättävälle raadille.

Galway onnistuu hakemuksessaan painottamaan valintaansa tukevaa romanttista narratiivia. Hakemus onnistuu tässä huolimatta siitä, että hakemuspohjan kysymysasettelun kautta toteutukseen ja strategiaan liittyvät asiat ovat selvästi sekä kysymysten määrässä, että monipuolisuudessa laajemmin esillä kuin romanttista narratiivia tukevat historia ja visio. Teemojen hyödyntämiseen liittyneet onnistumiset liittyvät kenties vähemmän niiden valintaan kuin siihen, että ne määritettiin onnistuneesti paitsi alueellisiksi myös yleiseurooppalaisiksi. Narratiivin onnistuminen näiltä osin näkyy siinä, että eurooppalaisten ongelmien tarkastelu alueellisesta näkökulmasta sai raadilta kiitosta (Selection Panel 2016, 7). Hugh Miller (2012, 10–14) erittelee keinoja sille, miten narratiivi voi aikaansaada toimintaa. Galwayn hakemuksen tapauksessa raadin valinnan voidaan nähdä seuranneen narratiivin kyvystä herättää tunteita Galwayn ja sen asukkaiden alennustilaa kohtaan, sekä sen kyvystä samalla luoda kuvaa ECOC-hankkeesta potentiaalisena ratkaisuna tähän alennustilaan. ECOC-hankkeen seurausten jäädessä varsin epämääräisiksi, mutta positiivisiksi, on ratkaisun toteutus silti esitetty hakemuksessa varsin rationaalisena resurssien keräämisen ongelmana. Hakemus onnistuneesti loi kuvan Galwaysta sekä kärsivänä, että kyvykkäänä selättämään tämän kärsimyksen. Maantieteellisen sijainnin ja Yhdysvaltoihin koetun läheisen suhteen kautta se myös sijoitti itsensä aivan Euroopan ja EU:n reunalle, huolimatta siitä, että 1973 unioniin liittyneenä maana Irlanti on vanhimpien jäsenmaiden joukossa.

5. JOHTOPÄÄTÖKSET

Tämän tutkielman nimettynä tavoitteena on tarkastella sitä, miten vuosille 2020–2033 annetun päätöksen muutokset näkyvät yksittäisessä ECOC-hakemuksessa. Tämän vuoksi johtopäätöksissäni erittelen päätöksen vaikutuksia Making Waves -hakemukseen, muutoksia suhteessa ECOC-hankkeen konventioihin, ja valintaraadin perusteluja Galwayn valinnalle hakemuksen ja päätöksen arviointikriteerien perusteella. Tämän jälkeen siirryn pohtimaan tutkielmani huomioiden pohjalta sitä, miten vuosille 2020–2033 annettu päätös voi päätyä muuttamaan ECOC-hanketta laajemmin.

Selkein vuosien 2020–2033 päätöksen luoma sisältöä ohjaava tekijä on hakemuslomake. Hakemuslomakkeen myötä hakemuksiin sisällytetään joukko kysymyksiä, jotka luovat selkeät raamit hakemuksille. Hakemuslomakkeen kautta Euroopan komissio määrittää pitkälti millaisiin asioihin hakemuksessa tulee keskittyä, ja mitkä aspektit näissä asioissa ovat arvioinnin kannalta kaikkein keskeisempiä. Hakemuslomakkeen kysymysten perustuessa päätöksessä annettuihin arviointikriteereihin, luovat ne käytännössä joukon kysymyksiä, joihin vastatessaan hakija tulee selventämään suhdettaan ECOC-hankkeen nimettyihin tavoitteisiin. Arviointikriteerien merkittävä laajentuminen ja tarkentuminen vuosien 2007–2019 ja 2020–2033 annettujen päätösten välissä on johtanut siihen, että näitä rakennetta määrittäviä kysymyksiä on huomattava määrä, ja hakijoiden tulee pyrkiä vastaamaan niihin mahdollisimman vakuuttavasti valtaosan kysymyksistä toimiessa jonkin valintakriteerin mittarina. Valintakriteereissä tapahtunut muutos, sekä se, että ”Management” ja ”Capacity to deliver” muodostavat kaksi hakemuslomakkeen kuudesta pääotsikosta, ovat osaltaan siirtäneet hakemuksen painotusta kohti hyvän hallinnon, taloudellisen tavoitteellisuuden ja poliittisen vakauden korostusta. Kuten aiemmin esitin, Galwayn hakemuksessa nämä kaksi viimeistä pääotsikkoa katkaisivat keskeisen narratiivin.

Ylhäältä tulevasta ohjeistuksesta huolimatta Making Waves -hakemus luo vahvan narratiivin hakemuslomakkeen rajattuun tilaan. Tämän se toteuttaa luovalla lähestymisellä kysymysasetteluun, rakentaessaan vastaukset tarinanomaiseen muotoon. Romanttinen narratiivi laajempaa visiota luovana tekijänä myös osaltaan mahdollistaa toteutuksen yksityiskohtien käsittelyn abstraktimmalla tasolla, mikä vuosia käytännön toteutusta edeltävässä hakemuksessa on välttämätön tapa käsitellä vielä epäselviä yksityiskohtia. Galwayn hakemuksen mielenkiintoisimpia piirteitä on se, miten paikalliset ongelmat ja niihin vastaaminen esitetään tekstissä EU:n intressin mukaisina, ja ECOC- hankkeen tavoitteiden toteutumiseen johtavina. Näin hakemus luo kuvaa siitä, miten ECOC-

57 tapahtuman järjestäminen johtaa lopulta hyötyyn niin kaupungille kuin unionille. Näen siis, että uusimman päätöksen luomat entistä tiukemmat hakemuksia määrittävät raamit jättävät edelleen huomattavasti tilaa luoville ratkaisuille siinä, miten näiden raamien sisällä tuotetaan tekstiä. Galwayn hakemus osoittaa, että hakemuslomakkeen kysymysasettelua on mahdollista lähestyä tavalla, joka sekä vastaa annettuihin kysymyksiin, että mahdollistaa mittavaankin narratiiviin sitoutumisen raamien sisällä.

Making Waves -hakemuksessa esiintyy ECOC-hankkeen ja kaupunkimarkkinoinnin konventioita narratiivin tukena ja kaupungin erityisasemaa perustelemassa. Konventioiden hyödyntämisen voidaan nähdä osoittavan, että uudesta ohjaavasta päätöksestä huolimatta aiemmat ECOC- hakemukset toimivat edelleen vahvasti tekstiä ohjaavana elementtinä. Galwayn hakemuksen sivuuttaen näen kuitenkin selkeän mahdollisuuden siinä, että vuosien 2020–2033 välisissä ECOC- hakemuksissa aiempien ECOC-tapahtumien keskeisyys vähenee, ja hakemuksia aletaan tehdä suorempina vastauksina hakemuslomakkeeseen ja arviointikriteereihin. On mahdollista, että tämän kaltainen muutos olisi vain näennäinen, osan arviointikriteereistä ollessa vain konventioiden ylös kirjaamista. Esimerkiksi eurooppalaisen ulottuvuuden arviointikriteeri pääasiassa vain päätyy toistamaan niitä konventioita, joita eurooppalaisen ulottuvuuden osoittamiseksi oli muodostunut ennen vuoden 2014 päätöstä. Mutta konventioiden takana olevista tulkinnoista irrottautuminen ja omien tulkintojen tekeminen arviointikriteereistä voisi johtaa ECOC-hankkeen moni- muotoistumiseen.

Valintaraadin päätöksessä annettu Galwayn hakemuksen arviointi antaa mitä luultavimmin tietoa siitä, miten arviointikriteerejä tullaan myös tulevaisuudessa tulkitsemaan. Vaikka valintaraadin jäsenissä tapahtuu vaihtuvuutta, valitaan sinne silti edelleen edustajia samoihin perusteisiin vedoten. Raadissa unionin elinten nimittäminä unionin ja hankkeen etua edustavat ECOC-hankkeen kanssa kokemusta kerryttäneet henkilöt, kuten Galwayn hakemusta arvioinut ja tässäkin tutkielmassa lainattu Suzana Žilič-Fišer. Raadin voidaan olettaa paitsi henkilövalintojen kautta myös proseduurillisesti pyrkivän johdonmukaisiin päätöksiin, jotta hakijat voivat luottaa aiempiin päätöksiin arviointikriteerien tulkinnan välineenä. Siksi nostan valintaraportista esille kaksi linjausta, jotka voivat paljastaa miten valintaraati tulee myös tulevaisuudessa tulkitsemaan valintakriteerejä. Ensinnäkin valintaraportin erittely Galwayn hakemuksesta tekee selväksi pitkän aikavälin kehityksen keskeisyyden nykyisessä hankkeen muodossa. Tavoitteellisuus on keskeinen raami, jossa raati arvioi ECOC-ohjelmaa. Tavoitteellisuuden korostus tekee kulttuuriohjelmasta pääosin välineen. Hankkeen edustama kulttuurin välineellisyys ei kuitenkaan tarkoita välttämättä kulttuurin alistamista

58 esimerkiksi talouden alan palvelukseen, vaan välineellisyyden tarkoitus pitkässä aikavälissä on taata kulttuurillisen elämän elpyminen ja laajentuminen Galwayn alueella. Toisekseen on huomionarvoista, että valintaraportin ainut kritiikki eurooppalaisen ulottuvuuden käsittelyyn liittyen on se, että eurooppalaisten kulttuurien monimuotoisuutta ei kulttuuriohjelmassa tuoda riittävän laajasti esille. (Selection panel 2016, 5–10). Hakemuksen eurooppalaisiksi nimeämät teemat hyväksytään sellaisinaan eurooppalaisiksi, ja niiden käsittelyä paikalliskulttuurillisesta näkökulmasta kehutaan. Tämän voidaan nähdä olevan osoitus siitä, että vaikka arviointikriteerit jaottelevat eurooppalaisen ulottuvuuden entistä huomattavasti tarkempiin arvosteltaviin osiin, ollaan valintaraadissa silti sitoutuneita hankkeen perinteiseen inklusiiviseen eurooppalaisuuteen.

Tutkielman johdannossa nostin esille sitä, miten intressiristiriidat ja muutoskeskeisyys ovat olennaisia tutkielman taustalla vaikuttavia näkökulmia. ECOC-hankkeen muuttumisen seurauksia keskeisten intressiosapuolten suhteeseen onkin tämän vuoksi luonnollista tarkastella lähemmin. Muutokset ECOC-hanketta määrittävissä päätöksissä ovat tietysti ylhäältä tulevia, ja oletusarvoisesti EU:n intressejä palvelevia. Tämän vuoksi esimerkiksi kohdat eurooppalaisen ulottuvuuden sisällyttämisestä ja eurooppalaisen yhteisyön korostuksesta tuskin tulevaisuudessakaan poistuvat päätöksistä. Mutta EU:n intressien toteutumisen kannalta on olennaista, että hanke tuottaa tuloksia. ECOC-kaupunkien omien nimettyjen tavoitteiden onnistumisen ollessa keskeisin hankkeelle tulevia hakijoita tuova vetovoimatekijä, on EU:lla selkeä intressi pyrkiä näiden tavoitteiden toteutumisen mahdollistamiseen. Samalla tietysti ECOC-hankkeen asettamat raamit varmistavat, että ECOC- kaupungit pyrkivät omien intressiensä ajamiseen EU:n välinein, kuten eurooppalaista ulottuvuutta käsittelemällä ja eurooppalaista yhteistyötä ajamalla. ECOC-tapahtuma, joka on onnistunut sekä järjestävän kaupungin tavoitteisiin, että EU:n intresseihin suhteutettuna on paitsi mahdollinen, kuten hankkeen historia osoittaa, myös hankkeen tulevaisuuden muotoon vaikuttava. Onnistunut ECOC- tapahtuma ohjaa niin hakijoiden kuin komission tekemiä tulkintoja hankkeen potentiaalista ja tämän potentiaalin saavuttamisesta. ECOC-tittelin haluttavuuden ylläpitäminen takaa laadukkaiden hakijoiden osallistumisen myös tulevaisuudessa. Näen vuosien 2020–2033 päätöksen pyrkivän pääosin luomaan rakenteita, joissa onnistuneen ECOC-tapahtuman saavuttamisesta pyritään tekemään todennäköisempää, sen sijaan että päätöksellä ajettaisiin EU:n intressien tiukempaa toteutumista. Päätöksen kautta hakemusten arvioinnissa huomattava painopiste siirtyy toteutettavuuden ja vakauden todentamiseen. Samalla eurooppalaisen ulottuvuuden ja kulttuuriohjelman arviointiin annetut kriteerit toistavat hankkeelle jo vakiintuneita konventioita, joita valtaosa 2000-luvun ECOC-tapahtumista seurasi jo aiemmin. Keskeiseksi kysymykseksi tietysti jää se, onko päätöksen välittämä kuva onnistuneesta ECOC-tapahtumasta ainut tapa määrittää

59 tapahtuman onnistuminen. Esimerkiksi Mariborin ECOC-tapahtuman alkuperäisten tavoitteiden jäätyä toteutumatta, jäi kulttuuriohjelman kautta saavutettu muutos poliittisessa kentässä ja poliittisessa keskustelussa pääasialliseksi seuraukseksi. On vaikea tulkita vuosien 2020–2033 päätöksen luovan pohjaa sille, että tällainen muutos nähtäisiin jatkossa onnistumisena.

Vuosien 2007–2019 päätös, joka jatkoi vuonna 2005 alkanutta päätöstä, seurasi EU:n nopean laajenemisen vuosia. Näin ollen on helppoa nähdä esimerkiksi kyseisen päätöksen arviointikriteerien tulkinnanvaraisuuden olleen keino tukea inklusiivista eurooppalaisuutta EU:n kulttuurillisen monimuotoistumisen aikakaudella. Nykyisen ECOC-päätöksen valmistuttua vuonna 2014 EU oli kuitenkin varsin erilaisessa tilanteessa. Nopean laajenemisen kausi oli päättynyt, ja talouskriisin myötä unionilla oli suurempi tarve legitimoida olemassaolonsa. Kulttuuripoliittisesti legitimiteettiä voitiin tavoitella siirtämällä painopisteen uusien jäsenmaiden kulttuurien tunnustamisesta kaikkien jäsenmaiden jakamien yleisten eurooppalaisten kulttuuripiirteiden löytämiseen ja korostamiseen. Sitoutuminen hankkeen onnistumista ja sitä kautta tulevaisuutta korostavaan ohjeistukseen voi itsessään olla merkki ECOC-hanketta ohjaavien kulttuuripoliittisten intressien muutoksesta. Pitkän aikavälin tavoitteellisuuden lisäksi selkein laajentuminen ECOC-päätöksen arviointikriteereissä oli Euroopan yhdentymisen sisällyttäminen eurooppalaisen ulottuvuuden arviointiin. Arviointikriteerien tarkentumisen ja yhdentymisen sisällyttämisen niihin voidaan nähdä olevan siirtyminen astetta ekslusiivisempaan eurooppalaisuuteen. On mahdollista tulkita myös Galwayn hakemusta niin, että sen laatijat ovat arvioineet tämän kaltaisen muutoksen tapahtuneen. Tämä selittäisi ”eurooppalaistumisen” sisällyttämisen hakemukseen, vaikka irlantilaisessa kontekstissa se näyttäytyykin lukijalle jollain tasolla vieraalta. ECOC-tapahtuma voidaan esittää keinona pelastaa uhattu eurooppalainen identiteetti.

Selkeämpi sitoutuminen kaupunkien intressien toteutettavuuteen tuskin pyrkii ainoastaan takaamaan hankkeen imagon ylläpidoa. Hyvän hallinnon ja vakauden korostus tapahtuu samassa päätöksessä, joka ensimmäistä kertaa nostaa pitkän aikavälin kehityksen hankkeen keskeiseksi pyrkimykseksi. On selvää, että hankkeen sitoutuessa pitkään ECOC-vuoden jälkeen tavoiteltaviin seurauksiin, on ECOC- tapahtumien toteutukselle asetettuja vaatimuksia samalla nostettava huomattavasti. ECOC- kaupunkien on osoitettava selkeästi omaavansa taloudelliset resurssit, poliittisen pääoman ja toteutettavan suunnitelman monivuotisten seurausten tavoitteluun. Jää kuitenkin nähtäväksi onko arviointikriteerien siirtäminen hyvää hallintoa korostavaan suuntaan riittävä teko onnistuneiden ECOC-tapahtumien määrän kasvattamiseksi. Erityisesti sen huomioiminen, että ECOC-tapahtumien siirtyminen yhä pienempiin kaupunkeihin on jo tunnistettu uhaksi hankkeen imagolle (Immler ja

Sakkers 2014, 8), johtaa epäilyyn arviointikriteerimuutosten riittämättömyydestä ja pitkän aikavälin kehitykseen sitoutumisen suuruuden hulluudesta. Jo vuoden mittaisesta kulttuuriohjelmasta suoriutumisen ollessa pienemmille ECOC-kaupungeille haastavaa, on viiden tai kymmenen vuoden mittaisiin tavoitteisiin sitoutumisen mielekkyys kyseenalaista. Selkeä sitoutuminen pitkän aikavälin kehitykseen voi itsessään päätyä vähentämään hakijoiden määrää hankkeen odottaessa yhteistyötä esimerkiksi useammalta peräkkäiseltä kaupunginhallinnolta.

ECOC-hankkeen poliittiset vaikutukset paitsi eurooppalaisuutta ajavana, myös poliittista keskustelua ja muutosta aikaansaavana alustana ovat hankkeen murroksen myötä mahdollisesti muuttumassa. Hanke pysyy poliittisen tutkimuksen kannalta relevanttina koko olemassaolonsa ajan, sillä EU:n ja kaupunkien risteävät intressit, ylhäältä ja alhaalta tapahtuva vaikuttaminen, ja inklusiivinen ja ekslusiivinen eurooppalaisuus ovat perustavalla tavalla poliittisesti relevantteja ja kiinnostavia tutkimusaiheita. Mutta uusien arviointikriteerien painotus hallinnon, toteutettavuuden ja poliittisen vakauden arviointiin voi johtaa muutoksiin siinä, miten hankkeen potentiaali paikallispoliittisen muutoksen välineenä tulkitaan ECOC-kaupungeissa. O’Callaghanin (2012, 201) esitys kulttuurillisen ja poliittisen keskustelun sisällyttämisestä ECOC-hankkeeseen ei ole päätynyt päätökseen, vaikka se on huomioitu myös komission tilaamissa tutkimuksissa (mm. García ja Cox 2013). ECOC-hanke tulee kuitenkin myös tulevaisuudessa saamaan aikaan kulttuurillista ja poliittista keskustelua, vaikka sitä ei arviointikriteereiden kautta tuettaisikaan.

Oma tarkasteluni ECOC-hankkeen uusimmasta murroskohdasta jää vääjäämättä vajaaksi. Tutkielmani keskittyi pääosin vuosien 2020–2033 päätöksen analysointiin yhden ECOC-hakemuksen avulla, joka on monin tavoin riittämätön tutkimusasetelma laajan kuvan saavuttamiseksi. Keskeinen ongelma on se, että ensimmäinen ECOC-tapahtuma saa muotonsa vasta vuonna 2020. Päätösteksti antaa tietysti rajoitteita ja ohjeistusta tälle tapahtumalla, mutta lopulta ECOC-hankkeen muoto määräytyy yksittäisten ECOC-tapahtumien kautta. Siksi olennainen osa kokonaiskuvan saavuttamista on näiden yksittäisten tapahtumien tutkiminen niin toisistaan irrallisina kuin toisiinsa linkittyneinä kulttuuripoliittisina ilmauksina. EU:n intressien toteutumisesta vuosien 2020–2033 välillä saamme arvion aikavälille päätöksen myötä sijoitettujen laajempien tutkimusten kautta. Varsinainen onnistumisen tulkinta on kuitenkin luultavasti mahdollista vasta sitä päätöstä luettaessa, joka määrittää ECOC-hanketta seuraavalla ajanjaksolla. Tämä päätös voi vaikuttaa vuodesta 2033 eteenpäin tai se voi korvata nykyisen päätöksen kesken sen toimikauden.

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Commission of the European communities (1996). 1st report on the consideration of cultural aspects in European community action. Saatavilla https://eur-lex.europa.eu/LexUriServ/LexUriServ. do?uri=COM:1996:0160:FIN:EN:PDF. Luettu 26.7.2019.

Euroopan komissio (1999). Päätös 1419/1999/EY. Saatavilla https://eur-lex.europa.eu/legal- content/FI/TXT/PDF/?uri=CELEX:31999D1419&from=EN. Luettu 19.11.2018.

Euroopan komissio (2003). 2003/0274 (COD). Saatavilla https://eur-lex.europa.eu/legal- content/FI/TXT/PDF/?uri=CELEX:52003PC0700&from=EN. Luettu 19.11.2018.

Euroopan komissio (2014). Päätös 445/2014/EU. Saatavilla https://eur-lex.europa.eu/legal- content/FI/TXT/HTML/?uri=CELEX:32014D0445&from=EN. Luettu 1.12.2018.

European commission (2006). Decision 1622/2006/EC. Saatavilla https://eur-lex.europa.eu/ LexUriServ/LexUriServ.do?uri=OJ:L:2006:304:0001:0006:EN:PDF. Luettu 19.11.2018.

European commission (2012). Document 52012SC0226. Saatavilla https://eur-lex.europa.eu/legal- content/EN/TXT/?uri=CELEX:52012SC0226. Luettu 30.11.2018.

European commission (2018). European capitals of culture. Saatavilla https://ec.europa.eu/ programmes/creative-europe/actions/capitals-culture_en. Luettu 10.12.2018.

García, Beatriz ja Tamsin Cox (2013). European capitals of culture: success strategies and long-term effects. Saatavilla: http://www.europarl.europa.eu/RegData/etudes/etudes/join/2013/513985/IPOL- CULT_ET(2013)513985_EN.pdf. Luettu: 15.10.2018.

Opetushallitus (2019). Euroopan kulttuuripääkaupunki vuonna 2026 Suomesta – hakuprosessi käynnistyy keväällä 2019. Saatavilla http://www.cimo.fi/ajankohtaista/kulttuurin_uutiset/101/1/ euroopan_kulttuuripaakaupunki_vuonna_2026_suomesta_hakuprosessi_kaynnistyy_kevaalla_2019. Luettu 25.1.2019.

Palmer, Robert (2004a). European cities and capitals of culture. Bryssel: Palmer/Rae. Saatavilla https://ec.europa.eu/programmes/creative-europe/sites/creative-europe/files/library/palmer-report- capitals-culture-1995-2004-i_en.pdf. Luettu 17.10.2018.

Palmer, Robert (2004b). European cities and capitals of culture – city reports, part II. Bryssel: Palmer/Rae. Saatavilla https://ec.europa.eu/programmes/creative-europe/sites/creative-europe/files/ library/palmer-report-capitals-culture-1995-2004-ii_en.pdf. Luettu 17.10.2018.

Selection Panel (2016). The European capital of culture in 2020 in Ireland: the selection panel’s final report. Dublin. Saatavilla http://www.chg.gov.ie/app/uploads/2015/07/ecoc-2020-ireland-final- selection-report-september.pdf. Luettu 4.4.2018.

Template for the call for applications. Saatavilla https://ec.europa.eu/programmes/creative- europe/sites/creative-europe/files/capitals-culture-call-applications_en.pdf. Luettu 7.12.2018.

Galway Application for European Capital of Culture 2020

MAKING WAVES MAKING WAVES

Galway Application for European Capital of Culture 2020 Aaron Hurley ~ Abaigh Donohue ~ Abdulrahman Alshahrani ~ Adah Walsh ~ Adam Bell ~ Adeline Bennett ~ Admiral Chauffeur ~ Ado Lyons ~ Adrian Devane ~ Adrian Levelle ~ Adrian Ó’Braonáin ~ Adrian Precelek ~ Adriana Betabancoua ~ Adriana Heery ~ Adriano Garcia ~ Adrien Sourdot ~ Aengus O’Connor ~ Agieszka Sendur Yaya ~ Agnes Gurney ~ Agnieszka Barwinska ~ Aidan Brennan ~ Aidan Burke ~ Aidan Hawkins ~ Aidan Kennedy ~ Aidan Ryan ~ Aideen Barry ~ Aideen Henry ~ Aideen Monaghan ~ Aideen Moore ~ Ailbhe Friel ~ Ailbhe Murphy ~ Ailbhe Ni Ghearbhuigh ~ Aileen Aremstrong ~ Aileen Doherty ~ Ailish Bhreathnach ~ Aindrias de Staic ~ Aine Bairead ~ Aine Bleahene Alan Fahy ~ Alan Gaillard ~ Alan McMonagle ~ Alan Mongey ~ Alan Rowe ~ Alannah Robins ~ Albaset Dhanoon ~ Aldric Bailey ~ Alessio Mascitti ~ Alex Fernie ~ Alex Henry ~ Alexander Herman ~ Alexandera Kurtes ~ Alexandre Vaelyn ~ Ali Initzar ~ Alice maher ~ Alice McCartney ~ Alisa Utkina ~ Alisha Nicholson ~ Alison Cronin ~ Alison Eviers ~ Alison Henehan ~ Alison Keelan ~ Alison Morgan ~ Allison Dunne ~ Allison Fitzpatrick ~ Allison O’Mara ~ Allison Regan ~ Alma Hynes ~ Amanda Percy ~ Amanda Stuart ~ Amaria Healy ~ Amber Doyle ~ Amelia Walker ~ American Chamber ~ Amir Murathodiz ~ Amy Mannion ~ Amy Milikan ~ An Ait Eile ~ An Taibhdhearc ~ Ana Maria Blanquita ~ Ana Pires ~ Anders Trabjerg ~ András Farkas ~ Andrea Healy ~ Andrea Rossi ~ Andres Martorell ~ Andrew Boyle ~ Andrew Downes ~ Andrew Flynn ~ Andrew Turkiewicz ~ Andriy Tabachuk ~ Andy Ainley ~ Andy Pratt ~ Andy Taylor ~ Angela Bane ~ Angela Feely ~ Angela Guillemet ~ Anita Murphy ~ Ann Byrne ~ Ann Coen ~ Ann Curran ~ Ann Davis ~ Ann Davoren ~ Ann Foley ~ Ann Jones ~ Ann Keevans ~ Ann King ~ Ann Lyons ~ Ann Mallaghan ~ Ann Marie Ui Cheannabhain ~ Ann Marie Walsh ~ Ann McManus ~ Ann O’Higgins ~ Anna Considine ~ Anna Downes ~ Anna Fiodalliso ~ Anna Golden ~ Anna Goonan ~ Anna Kurylik ~ Anna Lardi Fogarty ~ Anna McCarthy ~ Anna O’Donnell ~ Anna Rudy ~ Anna Sweeney ~ Annabell Fitzgerald ~ Annamae Sheehan ~ Anne - Marie Hession ~ Anne Butler ~ Anne Casserly ~ Anne Harkin - Petersen ~ Anne Henning Jocelyn ~ Anne Kenny ~ Anne Loftus ~ Anne Mannion ~ Anne Marie Kennedy ~ Anne Marie McDonagh ~ Anne Marie Walsh ~ Anne McCabe ~ Anne McCarthy ~ Anne Melia ~ Anne Murphy ~ Anne O’Byrne ~ Anne O’Gorman ~ Anne Peneluppi ~ Anne Quinn ~ Anne Scully ~ Anne Spelman ~ Anne Wedick ~ Annette Curley ~ Annette Flanagan ~ Annette Maye ~ Annette Walsh ~ Annie Claffey ~ Annie Costelloe ~ Annie Ingelbach ~ Anthony Clare ~ Anthony Healy ~ Anthony Lawless ~ Anthony Ryan ~ Antionette O’Mahony ~ Antonio Moreno ~ Antony Maurin ~ Aoife Consodine ~ Aoife Gallivan ~ Aoife McDonagh ~ Aoife McGough ~ Aoife Ni Dhubhlaoich ~ Aoife Ní Laoi ~ Aoife Noone ~ Aoife Porter ~ Aoife Severs ~ Aoife Tarmey ~ Aonghus Joyce ~ April Costelloe ~ Aran McMahon ~ Ardoura Vitae ~ Artur Brozek ~ Arun Asan ~ Arwel Gruffyd ~ Ashitosh Waidande ~ Ashlee Chin ~ Ashling Godfrey ~ Athenry Heritage Centre ~ Audrey Concannon ~ Audrey Cornett ~ Audrey Keane ~ Austin Ivers ~ Ava McCann ~ Avril Smith ~ Ayoma Bowe ~ Barbara Dunne ~ Barbara Hernon ~ Bárbara Ou ~ Barry Cooley ~ Barry O’Mahony ~ Barry Walls ~ Baska Szostak ~ Beata Anna Fijalkowska ~ Bebhinn Langan ~ Beckey Finn Britton ~ Ben Geoghegan ~ Ben Harrington ~ Ben Kelly ~ Ben Secoirs ~ Ben Simmons ~ Benita Lipps ~ Berina Kelly ~ Bernadette Divilly ~ Bernadette Hoban ~ Bernadette May ~ Bernadette Mullarkey ~ Bernadine Burke ~ Bernadine Carroll ~ Bernard King ~ Bernard McGlinchey ~ Berni O’Donnell ~ Bernice Cooke ~ Bernie Doherty ~ Bernie Mannion ~ Bernie O’Leary ~ Bernie Rougieux ~ Bernie Symth ~ Berwick Solrs ~ Beth Gretton ~ Betsy Carreyette ~ Betty Purcell ~ Bianca Perira ~ Bill Barry ~ Bill Golden ~ Billy Buckley ~ Billy Murray ~ Blaithin Ni Leannain ~ BONGANI DHLAMINI - NKOSI ~ Breda Burke ~ Breda Joyce ~ Breda Kealy ~ Breda Keaveney ~ Breda Mulry ~ Breeda Coyle ~ Breege Flynn ~ Breege Lynch ~ Brenda Brady ~ Brenda O’Sullivan ~ Brendan Buckley ~ Brendan Burke ~ Brendan Ferguson ~ Brendan Flynn ~ Brendan Heneghan ~ Brendan J. Hynes ~ Brendan McGowan ~ Brendan O’Conor ~ Brendan O’Gorman ~ Brendan Smith ~ Brett Bell ~ Brian Barrett ~ Brian Berkholst ~ Brian Bruton ~ Brian Donnelly ~ Brian Duffy ~ Brian Fleming ~ Brian Harten ~ Brian Healy ~ Brian Joyce ~ Brian Laheen ~ Brian McGee ~ Brian McNamara ~ Brian Nolan ~ Brian O’Connell ~ Brian Twomey ~ Brian Waldron ~ Brid Conneely ~ Brid Gavin ~ Brid Ni Chonghoile ~ Brid Seoige ~ Brid Ward ~ Bridaine Griffin ~ Bridge Sullivan ~ Bridget Bhreathnach ~ Bridget Dolan ~ Bridget Kelly ~ Bridget McDonagh O’Toole ~ Bridgetta Briscoe ~ Bridgette Brew ~ Bridgid Mulligan ~ Bridgid Sealy ~ Bridie McMahon ~ Brigid Brophy ~ Brigitte O’Reilly ~ Brit Brenzen ~ Brona Kinnane ~ Bronagh Kenny ~ Brothers of Charity ~ Bryan Casburn ~ Cait Noone ~ Caitlin NicAnultaigh ~ Caitriona Morgan ~ Caitriona Ní Chadhain ~ Caitriona Scully ~ Camila Martins ~ Camile Fafin ~ Caoimhe Connolly ~ Caoimhe Joyce ~ Caoimhe McLaughlin ~ Caoimhe Tully ~ Caoimhín MacGloinn ~ Caoimhin O’ Maolallaigh ~ Capt Gilmore ~ Capt Kelleher ~ Car Stanley ~ Cara Martin ~ Carina Ginty ~ Carme Camprubi ~ Carmel Brennan ~ Carmel Doolan ~ Carmel Garrett ~ Carmel Mary Deely ~ Carmel McGrath ~ Carmen Taheny ~ Carole Raftery ~ Caroline Brennan ~ Caroline Bridie Gower ~ Caroline Cleary ~ Caroline Geoghegan ~ Caroline Gower ~ Caroline Horrigan ~ Caroline Keena ~ Caroline Loughnane ~ Caroline McDoonagh ~ Caroline McNeill ~ Caroline Meaney ~ Caroline Moran ~ Caroline Phelan ~ Caroline Reid ~ Caroline Stanley ~ Caroline Walsh ~ Caroline Winters ~ Carolyn Wall ~ Cat Kelly ~ Cath Phelan ~ Cath Taylor ~ Cathal Egan ~ Cathal Heneghan ~ Cathal O’Cuaig ~ Cathal O’Malley ~ Catherina Blewitt ~ Catherine Bleahen ~ Catherine Boothman ~ Catherine Hennessy ~ Catherine Hession ~ Catherine Jordan ~ Catherine Leydon ~ Catherine McConnell ~ Catherine O’Leanachain ~ Catherine Phibbs ~ Catherine Prendergast ~ Catherine Ryan ~ Catherine Simon ~ Cathleen Hartnett ~ Cathriona Kelly ~ Cathy Brown ~ Cathy Hughes ~ Cathy Martin ~ Cathy Reinhardt ~ Catriona O’Reilly ~ Caue Aleixo ~ Caulfield Industrial ~ Ceara Conway ~ Cecil Collot ~ Cecilia Danell ~ Celine Curtin ~ Celine O’Donovan ~ Cesar Perez Doherty ~ Chantelle Chartreuse ~ Charlotte McIvor ~ Charoline Griffin ~ Chris Coughlan ~ Chris Coyle ~ Chris Fullam ~ Chris Leach ~ Chris Okeke ~ Christina Cassidy ~ Christina Mullen ~ Christine Heron ~ Christine Mayhew ~ Christine O’Sullivan ~ Christopher Banahan ~ Christy O’Boyle ~ Christy O’Carroll ~ Cian Burke ~ Cian Finn ~ Cian McCann ~ Cian O’Connell ~ Cian Smyth ~ Cian Twomey ~ Ciara Daly ~ Ciara Flynn ~ Ciara Gannon ~ Ciara Heaphy ~ Ciara Mc Donagh ~ Ciara Morgan ~ Ciaran Dowd ~ Ciaran Ryan ~ Ciaran Smith ~ Ciaran Taylor ~ Ciaran Tierney ~ Ciaron Fitzpatrick ~ Cindy Coleman ~ Cinemobile ~ Claire Carroll ~ Claire Cuddy ~ Claire Doyle ~ Claire Forde ~ Claire Keegan ~ Claire Keville ~ Claire McGlynn ~ Claire McLaughlin ~ Claire O’Leary ~ Claire Power ~ Claire Riordan ~ Claire Smith ~ Claire Walsh ~ Clara Higgins ~ Clare Butler ~ Clare Cashman ~ Clare Griffin ~ Clare Loughnane ~ Clare O’Connell ~ Clare O’Farrell ~ Clarr Kambamettu ~ Claude Madec ~ Claude Warren ~ Clement Shevlin ~ Cliona Clancy ~ Clodagh Barry ~ Coleman Corrigan ~ Colete Fahy ~ Colette Devaney ~ Colette Harlowe ~ Colette NicAdoha ~ Colin Farmer ~ Colin McCay ~ Collette McHugh ~ Colm Cantillion ~ Colm Cill ~ Colm Donnelly ~ Colm Dunne ~ Colm Faherty ~ Colm Farrell ~ Colm Gannon ~ Colm Hopkins ~ Colm Sweeney ~ Colum Joyce ~ Conleth Gent ~ Connie Farrell ~ Conor Buckley ~ Conor Kelly ~ Conor McDaid ~ Conor Nolan ~ Cora Dupuy ~ Cora Gunter ~ Cora McBeth ~ Cora O’Donnell ~ Cora Rowan ~ Coralie Mureau ~ Cormac Conaire ~ Cormac MacMahon ~ Cormac O’Beaglaoich ~ Craic in Galway ~ Craig Flahety ~ Craig Richardson ~ Cynthia Ashraf ~ D.Rebbholz Schuhuam ~ Daithi Dubhmor ~ Daithi Gazeley ~ Daithi Ó Dronai ~ Dale Conroy ~ Dallan Doherty ~ Damian Duddy ~ Damien Fox ~ Damien Hannify ~ Damien O’Connoe ~ Dani Elle ~ Dani Galvin ~ Dani Gill ~ Dani O’Sullivan ~ Daniel Clark ~ Daniel de Torres Barderi ~ Daniyal Daud ~ Dara Bradley ~ Dara Gegan ~ Dara Kelly ~ Dara O’Donnell ~ Dara O’Leary ~ Darach Glennon ~ Darach Mac Con Iomaire ~ Darach Ó Tuairisg ~ Darah Mullooly ~ Darina McCarthy ~ Darius Ivan ~ Darragh McKeogh ~ Darren Burke ~ Dave Burnett ~ Dave Donovan ~ Dave Glynn ~ Dave Keogh ~ Dave O’Connell ~ David Breen ~ David Byrne ~ David Collins ~ David Creane ~ David Cuddy ~ David Kelly ~ David Kirrane ~ David Leahy ~ David Miskell ~ David Niland ~ David O’Brien ~ David Ofeldt ~ David Owens ~ David Parnell ~ David Power ~ Davide Terlingo ~ Davnet McEllin ~ Davy Crockett ~ Dawm mcGoldrick ~ Dawn Howard ~ Dawn O’Sullivan ~ De Lourdes Fahy ~ Dearbhla Mooney ~ Debbie McDonagh ~ Debbie Watkins ~ Debi O’Hehir ~ Declan Brennan ~ Declan Dooley ~ Declan Farrell ~ Declan Gibbons ~ Declan Jones ~ Declan Sheridan ~ Declan Varley ~ Dee Quinn ~ Deirdre Burke ~ Deirdre Clarke ~ Deirdre Costello ~ Deirdre Curley ~ Deirdre Deegan McGee ~ Deirdre Kennedy ~ Deirdre Lydon ~ Deirdre McLoughlin ~ Deirdre Naughton ~ Deirdre Ní Argáin ~ Deirdre Ni Chonghaile ~ Deirdre O’Mahoney ~ Deirdre Ridge ~ Deirdre Tully ~ Deirdre Walsh ~ Deirdre Whelan ~ Deirdre’s Alterations ~ Delia Breathnanch ~ Della Brennan ~ Dellow Collier ~ Denis Connolly ~ Denis Mockler ~ Denis Nealis ~ Denise Hogan ~ Denise Manning ~ Denise McDonagh ~ Denise McNamara ~ Dennis Darcy ~ Derek Cassidy ~ Derek Walsh ~ Dermot Lally ~ Dermot O’Donovan ~ Derrick Hambleton ~ Derval Leahy ~ Des Campbell ~ Des Conroy ~ Des Foley ~ Des Kilbane ~ Desmond Caden ~ Desmond Lally ~ Diane Davies ~ Diane Henshaw ~ Diane Keane ~ Diane Nevin ~ Diane Norton ~ Diane Reid ~ Diarmaid O’Flatharta ~ Diarmaid O’hEocha ~ Diarmuid O’Conghaile ~ Diarmuid Puirs ~ Diarmuid Walsh ~ Dick O’Donovan ~ Dillon O’Callaghan ~ Dolores Duggan ~ Domhnall O’Broin ~ Dominic Moran ~ Dominic Nater ~ Dominic Thorpe ~ Dominick Whelan ~ Dominika Dudek ~ Dónal Lally ~ Donal Leech ~ Donal Ward ~ Donna Burke ~ Donna Gleeson ~ Donnacha Cahill ~ Donnchadh Wernntrom ~ Doreen O’Keefe ~ Doug Leddin ~ Doughbros ~ Dr Ciara Smyth ~ Dr Eugene Farrell ~ Dr Gerry Kearns ~ Dr Lamine Abad ~ Dr Niamh Reilly ~ Dr. Adrian Paterson ~ Dr. Aimee Mollaghan ~ Dr. Aisling McCluskey ~ Dr. Alison Forrestal ~ Dr. Caitriona Clear ~ Dr. Conn Holohan ~ Dr. Dane Flannery ~ Dr. Emil Skoldberg ~ Dr. Emma Holian ~ Dr. Enrico Dal Lago ~ Dr. Frances McCormack ~ Dr. Gary Lupton ~ Dr. Gearoid Barry ~ Dr. Gerald Cipriani ~ Dr. Haixuan Yang ~ Dr. Ian Walsh ~ Dr. James Browne ~ Dr. James Cruickshank ~ Dr. James Ward ~ Dr. Jerome Sheahan ~ Dr. John Burns ~ Dr. John Cunningham ~ Dr. John Kenny ~ Dr. Julia Carlson ~ Dr. Kate Quinn ~ Dr. Keiran Ryan ~ Dr. Kevin O’Sullivan ~ Dr. Kimberly LoPrete ~ Dr. Laura McLoughlin ~ Dr. Laurence Marley ~ Dr. Marie - Louise Coolahan ~ Dr. Mark Mc Carthy ~ Dr. Martin Glavin ~ Dr. Martin Meere ~ Dr. Mary Noelle Harris ~ Dr. Michael Hayes ~ Dr. Michael McGettrick ~ Dr. Milovan Krnjaji ~ Dr. Miriam Haughton ~ Dr. Muireann O’Cinneide ~ Dr. Neil Ferguson ~ Dr. Niall Madden ~ Dr. Niall O’Ciosain ~ Dr. Nick Tosh ~ Dr. Paul Naessans ~ Dr. Rachel Quinlan ~ Dr. Ray Ryan ~ Dr. Rebecca Barr ~ Dr. Richard Hull ~ Dr. Richard Pearson ~ Dr. Rióna Ní Fhrighil ~ Dr. Roisin Healy ~ Dr. Ronan Kavanagh ~ Dr. Sarah - Anne Buckley ~ Dr. Sean Crosson ~ Dr. Sejong Park ~ Dr. Thomas Ritter ~ Dr. Tom Acton ~ Dr. Tomas Finn ~ Dr. Tsarina Doyle ~ Du Jingze ~ Eamon Breyy ~ Eamon Shevlin ~ Eamon Gavin ~ Eamonn Currich ~ Eamonn Kelly ~ Eamonn Little ~ Eamonn O’Donoghue ~ Eamonn O’Cual ~ Eanna Mac Donnchada ~ Eco Fuel ~ Eddie Higgins ~ Edel Abberton ~ Edel McCormack ~ Edel Molloy ~ Edgar Gomez ~ Edward Campbell ~ Edward Mc Donagh ~ Edward McMullin ~ Edward SH ~ Eibhlin Faulkner ~ Eibhlin Ni Mhunghaile ~ Eileen Coyle ~ Eileen Graham ~ Eileen Keane ~ Eileen Keaveney ~ Eileen Walsh ~ Eilis Nic Dhonncha ~ Eilís Nic An Rí ~ Eimear Carragher ~ Eimear Cuddy ~ Eimear Durnin ~ Eimear Harte ~ Eimear Jean McCormack ~ Eimear Kilmartin ~ Eimear O’Donnell ~ Eithna McGee ~ Eithne Carey ~ Elaine Byrnes ~ Elaine Connolly ~ Elaine Cosgrave ~ Elaine Cunningham ~ Elaine Hanrahan ~ Elaine Naughton ~ Elaine Nic Liam ~ Elaine O’Toole ~ Elaine Quinlan ~ Elaine Wallace ~ Elanore Huxley ~ Eleanir Rafferty ~ Eleanoe Hough ~ Eleanor Lonergan ~ Electric & Bite Club ~ Elected Members of Galway City Council ~ Elected members of Galway County Council ~ Elena Santos ~ Elise Morrissey ~ Eliza Geraghty ~ Elizabeth Hackett ~ Ellen Corbett ~ Ellen Keane ~ Ellen McDonough ~ Ellen McGrory ~ Ellen Reaney ~ Elma O’Donovan ~ Elodie Rein ~ Elsa Lee ~ Elvira Blanco ~ Emer Carr ~ Emer Deasy ~ Emer Donoghue ~ Emer Kennedy ~ Emilie Hansenne ~ Emilija Jefremova ~ Emily Jean ~ Emily Walsh ~ Emir Munoz ~ Emma Conoe ~ Emma Dale ~ Emma Halloran ~ Emma Lambe ~ Emma McEneaney ~ Emma Murphy ~ Emma Murtagh ~ Emma Ní Chearúil ~ Emma O’Grady ~ Emma O’Sullivan ~ Emmanuel Hakem ~ Emmet Kenny ~ Emmet Lee ~ Ena Brophy ~ Enda Burke ~ Enda McEvoy ~ Enless Masamno ~ Eoghan Doyle ~ Eoin Butler Thornton ~ Eoin Dolan ~ Eoin Finn ~ Eoin Jordan ~ Eóin Mark Lynn ~ Eóin McLynn ~ Eoin O’Droighneain ~ Eoin Raftery ~ Eoin White ~ Ericka Waldon ~ Erika Torokgyorgy ~ Ester Kiely ~ Esther Geraghty ~ Étaín Ní Thuairisg ~ Ethna Hogan ~ Etienne Russias ~ Eugene Jordan ~ Eugenia Kelly ~ Euler Alves ~ Eva Dearie ~ Evan Keaveney ~ Eve Murphy ~ Eveanna Ryan ~ Evelyn McNamara ~ Evie Faulkner ~ Expanded Draught ~ Faby Kaffer ~ Faulfil Murra ~ Feidhlim Seoighe ~ Feilim O’hAolain ~ Felim MacDermott ~ Ferg Flannery ~ Fergal Anderson ~ Fergal Monaghan ~ Fergus Kennedy ~ Fidelma Bane ~ Fidelma Healy Eames ~ Fidelma Mullane ~ Fidelma Murray ~ Finbar McHugh ~ Finghin Collins ~ Fintan Convery ~ Fintan Geraghty ~ Fintan Hynes ~ Fintan Sweeney ~ Fiona Bateman ~ Fiona Coen ~ Fiona Driscoll ~ Fiona Flatley ~ Fiona Hegarty ~ Fiona Hession ~ Fiona Keegan ~ Fiona Lawless ~ Fiona Maye ~ Fiona Monaghan ~ Fiona Murray ~ Fiona Neary ~ Fiona Roche ~ Fiona Sherlock ~ Fionn Delahunty ~ Fionnuala Brennan ~ Fionnuala Gallagher ~ Fionnuala Hannigan - Dunkley ~ Fionnuala Laffey ~ Fionnuala Sweeny ~ Fleur Colohan ~ Fr. Michael King ~ Frances Kilcommins ~ Frances O’Reilly ~ Frances Robinson ~ Francesca Nicora ~ Francis Duggan ~ Francis Finucane ~ Francis Heery ~ Francis McLoughlin ~ Frank Conway ~ Frank Greeley ~ Frank Kearney ~ Frank Kelly ~ Frank Osuki ~ Frank Rodiguez ~ Frankie Conlon ~ Fred Johnston ~ Freda Hatton ~ Freeda Garman ~ Freya Sweeney ~ Friends of Merlin Woods ~ Froach Shiel ~ Gabriel Faherty ~ Gabrielle Barry ~ Gail Cassidy ~ Gareth Kennedy ~ Gary Browne ~ Gary Finnerty ~ Gary Kelly ~ Gary Monroe ~ Gary Mullin ~ Gary Ridge ~ Gary Traynor ~ Gary Vaughan ~ Gavin Donohue ~ Gavin Duffy ~ Gaynor Seville ~ Gearoid Browne ~ Genevieve Ryan ~ Ger Considine ~ Ger Delaney ~ Ger Leslie ~ Ger Wilson ~ Geradette Bailey ~ Geraldine Breslin ~ Geraldine Burke ~ Geraldine Connolly ~ Geraldine Fahy ~ Geraldine Folan ~ Geraldine Gibbons ~ Geraldine Lally ~ Geraldine McGuire ~ Geraldine Mills ~ Geraldine Ni Chualain ~ Geraldine Ni Ghoill ~ Geraldine O’Farrell ~ Gerard Garrett ~ Gerard Kelly ~ Gerard Ward ~ Gerry Cleary ~ Gerry Hanberry ~ Gerry Mulkerrins ~ Gerry Mullins ~ Gianna Tasha Tomasso ~ Giddy Biddy Collective ~ Gillian Buckley ~ Gillian Drew ~ Glengowla Mines ~ Go West ~ Goretti O’Brien ~ Gosia Letowska ~ Grace Canavan ~ Grace Chakonera ~ Grace Mitchel ~ Grace O’Carroll ~ Gracie Kiely ~ Graham Bradtke ~ Grainne Creed ~ Grainne Flannery ~ Grainne Ní Fhoghil ~ Grzegorz Zajaczkowski ~ Gustavo Matias Campiolo ~ Hajnalka Oltyan ~ Haley Parker ~ Hannah Kiely ~ Hannah Molloy ~ Hannah Ruane ~ Hannah Russen ~ Harry Cibbens ~ Heather Flaherty ~ Heather Rafter ~ Heike Vornhagen ~ Helen Caird ~ Helen Conneely ~ Helen Doherty Chin ~ Helen Freeburn ~ Helen Gregg ~ Helen Kirrane ~ Helen Webb ~ Helena Condon ~ Helena Gorey ~ Helene St - Jean ~ Henry Dooley ~ Hero Value ~ Hilary Morley ~ Holly Mullarkey ~ Hossein Javidnia ~ Hugh Kelly ~ Hugh Murphy ~ Hugh O’Coileain ~ Ian McDonald ~ Ian Thornton ~ Iarla Molloy ~ Ide Lenihan ~ Ide Lourdes Fahy ~ Ignacio Malaina ~ Igor Marin ~ Imelda Dervin ~ Imelda Muroy ~ Ingrid Penrod ~ Inma Ramirez Perez ~ Insight Centre ~ Ionia Ni Chroinin ~ Irene Murphy ~ Irene O’Malley ~ Irene Wall ~ Iris M.Mora ~ Iris Nox ~ Isabella De Luca ~ Isabelle Gaborit ~ Istvan Feige ~ isupply ~ Ita Hayes ~ Ivor Carroll ~ Jacinta Dalton ~ Jacinta Divilly ~ Jacinta Harman ~ Jacinta Keane ~ Jack McCann ~ Jack Talty ~ Jackie Burke ~ Jackie Eastwood ~ Jackie Hogan ~ Jackie Nickerson ~ Jackie O’Callaghan ~ Jackie Queally ~ Jackie Somers ~ Jackie Wylie ~ Jacqueline Torpey ~ Jacqueline Turley ~ Jake O’Beollain ~ James Casey ~ James Cunningham ~ James Fleming ~ James Harrold ~ James Hayes ~ James Hickey ~ James Lee ~ James Martun ~ James McHale ~ James O’Hara ~ James Ryan ~ James Treanor ~ Jamie Fergus ~ Jamie Hogan ~ Jan Frohburg ~ Jane Downes ~ Jane Hanberry ~ Jane O’Connor ~ Jane O’Hanlon ~ Jane O’Leary ~ Jane O’Rourke ~ Jarek Smith Stanczak ~ Jarlath Hoade ~ Jason Craughwell ~ Jason O’Toole ~ Jean Brennan ~ Jean De Cleir ~ Jean Kenny ~ Jean McSorley ~ Jelena Erlic ~ Jen Hesnan ~ Jena Murphy ~ Jennifer Aherne ~ Jennifer Cunningham ~ Jennifer Johnston ~ Jennifer Lawless ~ Jennifer Logan ~ Jennifer Ollington ~ Jenny Bassatt ~ Jenny Beale ~ Jenny Dagg ~ Jenny Fox ~ Jenny Grace ~ Jenny McHale ~ Jenny Roche ~ Jenny Sherwin ~ Jerry Twomey ~ Jess Murphy ~ Jess Murphy ~ Jess Ní Riabhaigh ~ Jess Walsh ~ Jessica Doyle ~ Jessica O’Farrell ~ Jessica Pape ~ Jill McEneaney ~ Jill Murray ~ Jim Aherne ~ Jim Cotter ~ Jim Higgins ~ Jim Hynes ~ Jim Kavanagh ~ Jim McKee ~ Jim Mullarkey ~ Jim Ricks ~ Jim Vaughan ~ Jimmy Dolan ~ Jimmy McHale ~ Joan Armitage ~ Joan Kavanagh ~ Joan MacKernan ~ Joan Naughton ~ Joan Powell ~ Joan Sugrue ~ Joanathan Murphy ~ Joanna Cronin ~ Joanna McGlynn ~ Joanne Beirne ~ Joanne Couch ~ Joanne Dolan ~ Jobst Graeve ~ Joe Conmy ~ Joe Joyce ~ Joe Loughnane ~ Joe O’Neill ~ Joe Stuart ~ Joey Power ~ Johanna Cooke ~ Johanna Ni Mhaille ~ Johanne Webb ~ John Benson ~ John Brady ~ John Brennan ~ John Breslin ~ John Burke ~ John Carrig ~ John Caulfield ~ John Coll ~ John Concannon ~ John Conway ~ John Corcoran ~ John De Renzy ~ John Dowling ~ John Durning ~ John Feeney ~ John Flaherty ~ John Forde ~ John Gaffney ~ John Gillespie ~ John Gnoname ~ John Greally ~ John Hannon ~ John Hayes ~ John Heavey ~ John Henchy ~ John Hynes ~ John Jennings ~ John Joe Connell ~ John Joe Walsh ~ John Kelly ~ John Killeen ~ John Langan ~ John Mahoney ~ John Maloney ~ John Mannion ~ John Martin Tierney ~ John McDonagh ~ John McHugh ~ John McLoughlin ~ John O’Donnell ~ John O’Dowd ~ John o’Grady ~ John Rogers ~ John Scahill ~ John Scott ~ John Walsh ~ Johnny Berrill ~ Johnny Donnelly ~ Johnny Duggan ~ Johnny Hession ~ Jojo Dolan ~ Jojo Hynes ~ Jomo Ruane ~ Jonathan Gunning ~ Jonathan Reynolds ~ Jose Alvarez ~ Joseph Joyce ~ Joseph Larkin ~ Joseph Neary ~ Joseph O’Connor ~ Josephine Conroy ~ Josephine Ebalogbeu ~ Josh Guyet ~ Joyce Little ~ JP Canney ~ JP Kavanagh ~ Juan Sotoparra ~ Judith Berhardt ~ Judith Higgins ~ Judith Sibley ~ Judith Wolfe ~ Judy Murphy ~ Juley-Ann Collins ~ Julia O’Keefe ~ Julia Roddy ~ Juliana Matias Faust ~ Julianne Ni Chonchubhair ~ Julie Ann Relihan ~ Julie Bermingham ~ Julie Cruise ~ Julie Keenan ~ Julien Garrigues ~ Juliette Dela Mer ~ Jullien Dorgere ~ Justin Collins ~ Justin McCarthy ~ Justin Skerrit ~ Justine Foster ~ Kaitlin A Feeney ~ Kanika Wadhwa ~ Karen Arnold ~ Karen Coppinger ~ Karen Coss ~ Karen Galligan ~ Karen Golden ~ Karen McAndrew ~ Karen Naughton ~ Karen O’Neill ~ Karen Sweeney ~ Karen Walsh ~ Karen Whelan ~ Kari Costelloe ~ Kashi Mai ~ Kasif Masud ~ Kat Baker ~ Kate Costello ~ Kate Duignan ~ Kate Forde ~ Kate Hodman ~ Kate Howard ~ Kate Kennelly ~ Kate O’Donnell ~ Kath Griggs ~ Kathaine MacMaghnuis ~ Katharine Kenny ~ Katharine Mannion ~ Katherine Halford Greene ~ Kathleen Aspell Mortimer ~ Kathleen Furey ~ Kathleen Hannigan ~ Kathleen McDonagh ~ Kathleen Sweeney ~ Kathleen Thornton ~ Kathleen Ward ~ Kathryn Gibbons ~ Kathryn Monaghan ~ Kati Fazakas ~ Katie Ní Chonghaile ~ Katie Walsh ~ Katrina Goldstone ~ Katriona Gillespie ~ Kayanne Horgan ~ Kaye Maahs ~ Kealan Moran ~ Keeley Mannion ~ Keith Daly ~ Keith Finnegan ~ Keith Flynn ~ Keith Gerard Hession ~ Keith Lyne ~ Kelly Henry ~ Kelly Moran ~ Ken Lee ~ Ken Weymes ~ Kenneth Redmond ~ Kenneth Talbot ~ Kenny Gaughan ~ Kerry McClure ~ Kevin Brett ~ Kevin Burke Tyres ~ Kevin Flanagan ~ Kevin Healy ~ Kevin Leydon ~ Kevin McNicholas ~ Kevin Mooney ~ Kevin Skinnader ~ Kianan Weber ~ Kieran Andrews ~ Kieran Concannon ~ Kieran Coppinger ~ Kieran Cunnane ~ Kieran Joyce ~ Kieran O’Conor ~ Kiki See ~ Kitty O’Conor ~ Kris Garcia ~ Kris Verenga ~ Kristen Cavagnet ~ Kristen Jercycke ~ Kristiana Hristeva ~ Kumar Krishnasarma ~ Lakshika Serasinhe ~ Lali Morris ~ Contents Introduction & General considerations 2 (with acknowledgement to express our compelling desire in 2020 to make our friends in Rijeka 2020) 1 cultural waves across Galway City and County using our strong cultural profile to create a European programme that is conceptually based and in tune with our citizens desire to ensure a very significant

Contribution to Long Term Strategy 10 as anticipated by Galway’s ambitious 2 Cultural Strategy to 2025 and to build essential cultural capacity, monitoring and evaluation, to ensure that the surge of our creative force will be measured by its

European Dimension 20 and which will display our commitment to being 3 culturally diverse and embracing of European intercultural dialogue through our multiple co- production partnerships and our ground-breaking virtual presence around the world, delivering

Cultural & Artistic Content 28 that displays vision, scale, excellence with a 4 European sensibility, and most importantly, resonates with the citizens of Galway who demanded that this great cultural event must speak to them and enrich their lives and bind them to Europe long into the future, proving that Galway’s

Capacity to Deliver & Outreach 70 has been enhanced not just for 2020 but has 5 formed new foundations for the long-term viability and sustainability of Galway’s cultural life in terms of physical infrastructure, creative capacity, audience development and

Management 84 practices, thus ensuring the highest professional 6 standards in governance, transparency in delivery and effective risk management and providing

Additional Information 100 to summarise our USPs, to thank you for 7 reading our proposal and to leave you with a tale of two Queens and their bulls!

I I EUROPEAN CAPITAL OF CULTURE Galway 2020 / Bid Book Two 1 1. INTRODUCTION & GENERAL CONSIDERATIONS

2 Galway 2020 / Bid Book Two 1.1 Why does your city wish to take In Ireland and in Galway, old certainties have been part in the competition for the title replaced by a new reality. Leaders of Church of European Capital of Culture? and State are judged to have betrayed the trust of their people. Many of our young people have 1.1.1 THIS IS WHY… left and many more from around the world have chosen to make their homes here, which has We need to unlock the vast cultural capacity created sadness and joy in equal measure. The of Galway City and County which, for reasons old order has changed and the clock cannot be of economic social and sectoral challenges, reversed. We identify in ourselves a microcosm is inhibited from finding full expression of the current existential challenges to Europe in citizenship, inclusivity and creativity. and our core values as Europeans. We bring Making Waves, with Europe's support, is to our ECOC bid both empathy and optimism the key to achieving our ambition. and a resolution to develop and strengthen our bonds with the diverse cultures of Europe. As Europeans, we share experiences and values which bind us in a common purpose. The ECOC creates a secure space in which to celebrate 1.1.3 THIS IS WHAT WE DISCOVERED… and exchange our cultural diversity. There is Framed in a European context and guided by much we can learn from our fellow Europeans Galway’s Cultural Strategy, we embarked on a and there is much of our culture which we want huge public engagement process in preparation to share with them. And when we travel this for our ECOC bid. Many European examples were path of exchanging our stories it will lead to reviewed and the experience/plans of Aarhus creative synergies and boundless possibilities. and Leeuwarden in particular, struck a familiar chord with our participants. For our bid to have 1.1.2 THIS IS WHO WE ARE… integrity, it had to resonate with the deeper truths and needs of our society. We learned more than The people of Galway are known for their we could have imagined. Broken dreams and fierce independence, forged by resistance to helplessness were common themes but so too centuries of oppression and the harshness of were courage and hope. Cynicism about effective our way of life on the western edge of Europe. democracy was counterpointed by a determination A spirit of self-sufficiency – of being in control to engender self-motivation and self-reliance. of one’s destiny – of being united in community The challenge being put to the ECOC bid was to – are the qualities that distinguish the people shape a proposition that would be focused on the of Galway like nowhere else in Ireland. empowerment of our communities, particularly our We were always travellers (seafarers and airfarers) young creative artists (the new wave), so as to give and our roots have spread not only to Europe but full expression to their reality, and their potential, to the Americas also. For example, 33m people in in a challenging world. The engagement process the USA (10% of population) claim Irish ancestry. can be distilled to the following conclusions: Galway may be at the edge of Europe but we also ~~ The harmony that once was the hallmark see ourselves as being at the centre of a web of of Galway City and County is now an international cultures. Our remoteness can help urban/rural divide of stark contrasts – our perspective when looking East and West. old families bereft, new families lacking We have an openness and a talent for brokering integration. The innate empathy in our partnership and friendship. Galway’s achievement communities yearns for leadership and in attracting European and American business is purpose, and a new sense of belonging. mirrored in the multiple European programme partnerships Galway 2020 has already created. ~~ Our artistic community, which has achieved so much with so little in the past, is in urgent Galway City is a vibrant city and an exemplary need of strategic investment and renewal success story in terms of innovation in tourism, so as to assure future capacity, opportunity technology and culture. It is young (35% and sustainability. Solutions are most under 25) and cosmopolitan (24% are non- likely to be found by looking outward. nationals). Yet, there is evidence that economic ~~ It is readily acknowledged that Europe has made instability and a lack of investment in cultural enormous economic and social investment in sustainability are threatening its integrity. Ireland. It is not therefore surprising that we are Galway County on the other hand, while being now reaching out to Europe, as never before, for one of the most beautiful places on earth, has solidarity and inspiration, not expressed in EURO been in social decline for many years – rural but in the more enduring currency of culture. depopulation and a fundamental shift in traditional values have devastated the fabric of rural society.

Introduction & General Considerations 3 In preparing our bid we also reached out to many Migration artists, cultural organisations and activists across Galway has known emigration for centuries. Europe through every means of communication More recently, there has been an increase of imaginable. We invited them to attend workshops immigrants to the region from around the world, designed to address specific aspects of our particularly from Europe. This ebb and flow of approach. We recognised in them, and they human movement has created mixed emotions, in us, a profound shared perspective on the not least, a sense of uncertainty and displacement. issues that our public engagement process raised. We equally identified that the value of Few people are entirely alone. Those that come and inclusive, creative and shared responses to those that leave bring with them a connectedness those issues is a most effective strategy. to where they have come from. So, our displaced Galway and European people become remote extensions of their native cultures creating a rich 1.1.4 THIS IS OUR VISION… network for communication and influence.

Our vision for Galway 2020 is that it will Galway 2020 is already tapping into the be a catalyst for a future of inclusivity, potential of these migratory links to Europe participation and cultural sustainability. It so as to develop projects which will is drawn from and directly addresses what integrate those who have recently arrived we have discovered in the bid process. and those who have been left behind.

We have chosen to encapsulate the essence Landscape of our bid and the conceptual core of our Galway’s unique landscape – a paradox programme as Making Waves – a metaphor of harshness and beauty – is fundamental for a series of actions that will challenge the to the lived experience of Galway people status quo and enable a shift in behaviour and crucial to their sense of identity. The so that we achieve solidarity in diversity and landscape is richly represented in language replace apathy with cultural confidence. An as well as in the visual, written and oral arts. evolving emotional and social intelligence will be a measure of our ECOC designation. The rugged beauty of the region is a hard environment in which to farm and to sustain life The waves that we make, stirring up the essences but it is also rich in lore and legend, in music, of our traditional and contemporary culture, must dance and drama, in sport and friendship – a carry our learning and achievement beyond our source of ambivalence, and tension between shores, and into the future. The legacy of Galway the urge to stay and the need to leave. 2020 is what will be ultimately transformative. The landscape is a deep well of cultural heritage 1.1.5 THESE ARE OUR THEMES… and inspiration. Economic forces have led to a desertion of large tracts of land and the Migration, language and landscape are depopulation of smaller towns and villages. elemental themes in the make-up of Galway, And so, the role of the landscape has become as they are in European and world cultures. It uncertain – part museum artefact, part tourist trail. is in their detail and their combination that our uniqueness is manifest. They are the foundation Our inhabited islands are home to 10,000 people stones, but also the touchstones, upon which or 86% of island dwellers in Ireland. They are we build our programme for Galway 2020. Many unique communities with ancient cultures. of our projects speak to two or three of these Our urban landscapes and our extensive themes reflecting their interconnectedness. seascape, together with our rural landscape will all be thematic inspirations for our programme.

We are all on a journey of some kind. Our culture is both landscape and language.

4 Galway 2020 / Bid Book Two Language Through our innovative Virtual Capital of Culture Galway is the cradle of the Irish language – (3.2.2) we will share much of the experience of Gaelic – and Galway City was recently designated Galway 2020 with a wide European and worldwide Ireland’s first Bilingual City. With Counties Mayo audience who through age, disability, timing or and Donegal, now strategic partners in our bid, the economic circumstances cannot be physically region includes two of the three major Gaeltacht present. The European network of relationships (Irish language speaking) areas in Ireland. arising from migration are of particular interest.

Like many minority languages throughout Most importantly, the engagement we have Europe, the Irish language is under constant achieved with a very broad spectrum of European threat. Research suggests the language could die co-producers, co-curators and partners ensures out within the next 20 years. Possibly the most that we will present a truly European programme significant threat is that of migration from the land. that will enrich our people with a diversity of European influences and in turn allow us to bring Gaelic has had an extraordinary impact on the way our own cultural influences into the heart of Europe. we use English, in our speech and in our literature.

We also recognise that the arrival of strangers from 1.1.7 THIS WILL BE THE OUTCOME… abroad has brought with it a rich diversity of foreign languages and culture. 18% of the people of Galway The awarding of the ECOC to Galway will: speak neither Irish nor English on a daily basis. ~~ Regenerate the cultural life of the city and Embracing cultural difference is at the core of our spread its influence across Europe. ethos. Multilingualism is a reality in Galway and our ~~ Re-open our eyes to the immense cultural programme will engage with that reality and use it landscape of Galway and of Europe. to explore broader issues of cultural integration. ~~ Re-energise communities that have been undermined by economic decline and migration. 1.1.6 THESE WILL BE OUR ACTIONS… ~~ Re-instil a confidence in the power of We will use our thematic pillars to generate a culture to shape our lived environment. deep and authentic engagement with all the We will identify ourselves as Europeans people of Galway and between the people of without compromising our pride in wearing Galway and their fellow Europeans. This process the Maroon or the Green jersey. is already under way working with our large community of Galway 2020 cultural activists The evolving relationships we are forming with on a series of very successful pilot projects. cultural players all over Europe will gradually alter Our developmental work on these projects is behaviours and perspectives so that sustainable informed by various European dimensions. cultural practice is embedded at the centre of all our civic and social policy making and practice.

Regardless of how long they have been here or where they come from, all our people will be proud to say that they live where they love and love where they live.

Introduction & General Considerations 5 1.2 Does your city plan to involve its This local authority partnership will surrounding area? Explain this choice. provide us with access to;

Yes. The Galway 2020 bid includes ~~ An enhanced Gaeltacht region (see map) our City and our County. ~~ Additional Local Authority funding & resources In response to the Jury’s questioning about ~~ More off-shore Islands capacities in our first presentation, we have entered ~~ Access to additional venues into a strategic partnership with nine neighbouring counties (see map below) which gives us access ~~ Enhanced audiences, visitors to additional facilities, resources and audiences. and project participants While the host of this bid is emphatically Galway ~~ Greater engagement with specific migrant City and County there are several strands of our communities e.g. muslim community in Mayo. Flagship programmes – SMALL TOWNS/BIG IDEAS Galway City and County, together with its p36, HOPE IT RAINS p34 and AN ARTIST IN EVERY strategic partners, is very distinct from the East PLACE p32 – which will seamlessly extend into our neighbouring counties. It is intended that the of Ireland. We share a common heritage, culture ripple effect of this programme sharing will have and landscape. We also share familiar European signficant legacy implications for our partners issues relating to rural depopulation, migration, and for our future collaboration with them. isolation and minority language. Our counties are the custodians of off-shore islands, home The Galway 2020 bid is supported by these to 86% of island dwellers in Ireland. The Atlantic local authorities who are politically, strategically Ocean to the West and the River Shannon to and operationally committed to a strong the East makes us an island within an island. partnership with Galway so as to ensure a visible partnership programme throughout the region Following the first phase of the bid process for 2020. They have each signed Memoranda Dublin City Council signed an Memorandum of Understanding to underpin their support. of Understanding with Galway to be a strategic partner in our bid becoming a national gateway to the capital's many resources and very large population.

Tory Island

Inishboﬁn Island

Arranmore Island

Donegal Galway City & County Population 161,137 250,653 Leitrim Sligo 31,798 65,393 Achill Island Mayo 130,638 Clare Island Roscommon

Inishturk Island 64,065

Inishboﬁn Island Westmeath Dublin City Galway County 86,164 175,124 527,612 Galway City Offaly Inishmore Island 75,529 76,687 Inishmaan Island

Inisheer Island Clare River Shannon 117,196

Tipperary 158,754

Gaeltacht (Irish speaking) Areas

Galway City Galway County Strategic Partners Inhabited Islands

6 Galway 2020 / Bid Book Two 1.3 Explain briefly the overall ~~ The Gaelic Athletic Association representing cultural profile of your city. our National sports is very stongly rooted in Galway with huge popular support. Detailed demographic and cultural infrastructure tables were provided in the first bid book. ~~ Equine sports are a feature of Galway City Throughout history, from the earliest tool and County with the Galway Races, the makers of the Mesolithic period, through its Connemara Pony Show and the Ballinasloe hey day as the west coast's most important Horse Fair being major national events. medieval and post-medieval centre of trade, Galway's fortunes have ebbed and flowed. ~~ Connaught Rugby is a beacon of achievement in the European Rugby League. During the 1970s and 1980s a spontaneous creative revival took place in Galway leading ~~ Soccer, golf, sailing, and many other to the establishment of several internationally sports are important features in the renowned cultural organisations. While these social and cultural fabric of Galway. organisations continue to provide fine work, ~~ Galway is justifiably proud of its culinary there has not been a significant development status and holds the designation for the of the sector for many years with the result European Region of Gastronomy for 2018. that young artists and producers find it difficult to establish their practice in Galway. ~~ The Galway City and County Age Friendly Programme plays an important role in This spike in cultural creativity combined with celebrating creativity amongst our older citizens. traditional arts practice gave Galway a unique status in terms of the old and the new culture and ~~ Very active youth groups include, the synergies which arose from their co-existence. Coderdojo, The Youth Academy in NUIG, Foróige, Comhairle na nÓg, An Áit Eile. Galway boasts a community of 300 documented artists in the city and county. Our preparation ~~ Social Inclusion and Community Activation for the ECOC 2020 bid has generated such Programme with the LEADER scheme provides enthusiasm and awareness of culture that resources to a wide spectrum of social and it has become a major factor in shaping cultural initiatives, especially in rural areas. attitudes to culture throughout our society and irrespective of the outcome of our bid, 1.3.2 CULTURAL ECONOMY will leave behind a lasting cultural imprint. Galway is a world class cultural destination 1.3.1 CULTURAL PLAYERS capable of hosting major international events such as the Volvo Ocean Race, the Galway The following brief descriptions of a selection of International Arts Festival and the Galway Races cultural organisations in Galway will give a taste of the richness and variety of our cultural players. Galway has a well developed tourism infrastructure, significantly enhanced by the recently implemented ~~ Druid Theatre company has been celebrated Fáilte Ireland Wild Atlantic Way initiative. throughout the English speaking world for their distinctive style and repertoire. Galway has an audio-visual, television and film sector that is worth over €72 million to the local ~~ Galway International Arts Festival is an economy. There are over 600 people employed event of scale and consistent quality in the sector many of whom are based in the attracting major international artists. cluster of audio visual companies in Connemara.

~~ Macnas is a Spectacle and Street Performance Galway has a UNESCO City of Film designation Company of international standing. – one of seven in the world – which is a recognition of both the film heritage and ~~ Baboro is an important national the training, education and content delivery children's cultural festival with a strong services provided by the sector in Galway. network of worldwide practitioners. Incubation units, start-ups and innovation co- ~~ Branar Theatre is notable for the simple operatives are emerging in Galway featuring elegance of its puppetry for young ICT, digital technologies, media and gaming audiences and its use of Gaelic. companies. They are being informed by ~~ Fibín is an innovator in the provision of agencies such as the Insight Institute in NUIG challenging Irish language theatre. and Portershed. The Creative Industries in the West generate €534 million and account ~~ An Taibhdhearc is Ireland's National Irish for 3.4% of employment in Galway. Language theatre, located in Galway city.

Introduction & General Considerations 7 The Made in Galway initiative was established 1.3.5 ENVIRONMENT to develop a brand to showcase locally produced Galway based goods and services. Galway has the largest population of inhabited It represents the work of over 200 businesses islands in the country and these hold unique and provides a web-based directory and communities with strong traditions and heritage support structure for a wide range of craft and as well as outstanding areas of beauty. food producers in Galway City and County. Galway has many forest parks in the city and Events such as The Oyster Festival, Cruinniú na county providing green spaces and environmental mBád, Clifden Community Arts Week, Féile na education to local and visiting populations. gCloch are amongst a host of local festivals that Connemara National Park provides a variety of happen in the city, in the countryside and on facilities for over 170,000 visitors annually. the islands throughout the year. They are a vital part of the local economies of the host areas. 1.3.6 STRATEGIC PARTNERS AND LOCAL GOVERNMENT Galway has the largest population of Gaeltacht (Irish Language speaking areas) areas in the State. The ten counties which comprise our Strategic The Irish language is a considerable asset and Partners bring many cultural resources to is worth in the region of €136m to the County’s enhance our own array of facilities. economy, with €59m accruing to the city. The special relationship between Galway City and County Councils is built upon a 1.3.3 CULTURAL HERITAGE foundation of co-dependency and intricate Galway is rich in cultural heritage both in the built community connectedness. 30,000 citizens and natural environment. The City has retained travel into the city from the county each day its medieval fabric and scale and presents a for work and education. The Councils are walkable city with a coherent core. The county collaborators on a suite of strategies which offers a huge diversity of landscapes, sites and view their cultural priorities in a holistic way. monuments (the Western Forts in County Galway The draft City Arts Plan (2016–2018) and the have been nominated by the State for inclusion City Heritage Plan will be adopted in June as part of group of western Stone Forts to World 2016 which are key elements in advancing the Heritage Site tentative list) and biodiversity. Cultural Strategy. These plans are integrated Galway City Museum has one of the highest with the collaboration of the City and County visitor numbers in the country for non- on economic, tourism, branding and marketing fee paying attractions outside the capital strategies which will be completed by the end with over 160,000 visitors annually. of 2016. Dublin brings a particular learning to Galway through its hosting of the ECOC in 1991 and its candidature for ECOC 2020. 1.3.4 EDUCATION

The population of 20–24 year olds 1.4 Explain the concept for the programme is twice the national average. which would be launched if the city is designated as European Capital of Culture? Galway's two universities, the National University of Ireland, Galway (NUIG), and Galway-Mayo Making Waves is both the concept for our Institute of Technology (GMIT) are a pivotal programme as well as the metaphor and the resource in developing our professional cultural action we will use to give effect to our ambitious practitioners of the future. They are much plan to create a movement of cultural democracy valued strategic partners with Galway 2020. that will resonate not just around Ireland but way beyond our shores and into the future. Galway is a centre of marine research and development for both marine and fresh water It is a fluid idea, and so, hard to limit by definition. with institutions such as the Martin Ryan Institute The following fragments will illustrate the in NUIG and The Marine Institute leading the way flexibility and adaptability of the concept but also in the field. The Marine Institute is an important its evocative strength. Presenting these ideas collaborator with Galway 2020 on several projects. in this way reveals a process of thinking rather than a rigid conclusion. It should be apparent Galway and Roscommon Education and Training from the detailed programme that every project Board provides 2nd Level courses and is a resonates in some way with the 'concept'. gateway to 3rd Level for many young people whose families are recent arrivals to Ireland.

8 Galway 2020 / Bid Book Two Making Waves can be disruptive, churning up the sediment of the past and making new shapes. Creating capacity, challenging apathy, making space for the new and the risky Making Waves suggests movement and communication. Exchange with Europe, attracting audiences, meaningful engagement with migration challenges Making Waves is a spectrum of light. Radiating warmth, leaving darkness behind Making Waves is about rhythm, energy and time. Artistic creativity, in sync with audiences, the four year lead in to ECOC 2020 Making Waves is playful and threatening. Celebration, joy, confronting fear Making Waves is ebb and flow. Listening for echoes, getting back what you put in Making Waves is both intimate and cosmic. Personal shared experiences and infinity of the virtual Making Waves is a gesture of welcome or farewell. We care, we share, we embrace allcomers, we don’t want you to leave

Making Waves is our promise and our gift to the European Capital of Culture. A unique opportunity, a reciprocal commitment.

Introduction & General Considerations 9 2. CONTRIBUTION TO LONG-TERM STRATEGY

10 Galway 2020 / Bid Book Two 2.1 Describe the cultural strategy that is in As part of this programme, in April of this year a place in your city at the time of the application, cultural self-assessment Stakeholder Workshop as well as the city’s plans to strengthen the was held in Galway. The results of this event capacity of the cultural and creative sectors, can be seen in diagram 2.1a below. Culture including through the development of long 21: Actions – Galway and Global Panel 2015 term links between these sectors and the Table 2.1a economic and social sectors in your city. What are the plans for sustaining the cultural 70 60 activities beyond the year of the title? 50 70 40 60 30 2.1.1 THE STRATEGY 50 20 40 10 Galway’s 3-phase Cultural Strategy (2016–2025) 30 0 is built on a comprehensive consultation process 20 involving wide community engagement,10 sectoral involvement and careful research into best0 international practice. Our ambition is to design, drive and deliver a strategy that transforms Galway into a working model of cultural sustainability, community participation and world class cultural and creative experiences. This model begins with the City, extends into the County and engages with additional delivery partners in the western region. It matches achievable ideals with resources and delivery mechanisms. Our seven Strategic Aims, each with three Sustainability is at the heart of the strategy. Its Objectives, were detailed in a table in our strategic aims, objectives and many actions first bid-book. This bid-book will focus on have been analysed and informed through its how we intend to implement our policies, involvement in Culture 21 and the United Cities as illustrated on table 2.1b below. and Local Governments’ Pilot Cities Programme.

Table 2.1b Strategic Aims

Aim 1 Access & Cultural Rights

Example -- Build on the cultural charter through implementing -- Create introductory programmes to the Actions the Us All In Cultural Inclusion Toolkit. June 2016 culture of Galway for new migrants using cultural institutions. June 2017

Aim 2 Cultural Heritage

Example -- Create new interactive exhibitions on the Irish -- Create greater links with cultural heritage agencies Actions language for international visitors in the City in Europe specifically in 2018, and through Museum and An Taibhdhearc. September 2017 projects such as MONUMENT. 2017–2020

Aim 3 Culture, Education & Excellence

Example -- Establish an EU/Resource Desk to identify and -- Collaborate with ECOC2020 Artist in Every Place Actions access funding, resources, mobility programmes, project to set up mentoring opportunities, platforms, residencies etc for hubs/networks/groups. April 2017 residencies through creative hub model. 2016–2025

Aim 4 Culture, Environment & Place

Example -- Develop over a ten-year period, a prioritised -- Reconnect communities with nature through Actions schedule of cultural infrastructure needed in the EU Green Infrastructure activity and education city and county including hubs. 2016–2025 programmes and awareness. 2016–2018

Aim 5 Culture Economy

Example -- Support the development of creative hubs -- Work with the UNESCO City of Film on the Actions and enterprises such as GMIT and Portershed. development of the regional Film Fund as part of 2016–2025 the government’s Action Plan for jobs. 2016–2025

Aim 6 Culture Health & Wellbeing

Example -- Support emerging youth and creativity focused -- Engage with Cosán project for mental health Actions initiatives, programmes organizations with recovery using cultural resources. 2016–2018 new dedicated spaces. 2016–2025

Aim 7 Culture Information & Knowledge

Example -- Create intergenerational ICT learning platforms in -- Commission and create an online portal to a) showcase Actions libraries and museums for older people. 2017–2017 unique products and brand of culture in Galway in creative industries sector, arts and cultural heritage and b) to establish and support networks. 2016–2017

Contribution to Long-Term Strategy 11 The action plan for each phase of the strategy, ~~ Supporting the development of start- subject to comprehensive evaluation and review, ups, creative hubs and enterprises such will be supported with financial resourcing, as the Regional Film Fund (UNESCO City delivery partners, delivery structures (including of Film initiative) Enterprise Centre for existing cultural infrastructure, new infrastructure Creative Arts & Media and Portershed. and digital/online platforms), management ~~ Supporting the formation of creative/cultural structures, a monitoring and evaluation hubs in both rural and urban communities that process, and a range of cultural hubs. encourage co-operation and shared practices across all areas of cultural expression. 2.1.2 CAPACITY BUILDING ~~ Through the establishment of a Funding and The cultural hub concept is a new element Resource office in Galway City Council to identify of capacity building and has been developed all relevant funding sources for cultural activity. to strengthen individuals and self-organising ~~ Through setting up EU and international groups in the cultural sector. (see hubs diagram mentoring programmes, residency and 2.1c below). The cultural hubs will include: professional exchange opportunities to creative enterprise hub; historic hub; theatre grow the capacity of our cultural sector. and performance hub; tech innovation hub; ~~ Through the use of good planning tools community hub; and festival hub. The model will and innovative approaches to create more provide support through the following elements: attractive Public Realm spaces – using ~~ Accommodation a Cultural Impact Assessment tool. ~~ Programming and Curation ~~ An improved cohesive digital platform and online presence for Galway’s cultural offer and ~~ Training and Mentoring services and improved online communities/ ~~ Residencies communication for participants and users. ~~ Audience development ~~ Cross-sectoral approaches to tourism for those involved in producing, marketing, packaging 2.1.3 ECONOMIC AND SOCIAL LINKS and creating a better visitor experience.

Economic Social The economic sector in Galway will The west of Ireland has been deeply marked by be impacted by the cultural strategy emigration continually losing a high percentage through specific actions such as: of its young people to the growing Irish Diaspora. Conversely, in the last two decades it has ~~ Collaboration with the cultural sector to also been enriched by significant immigration develop training/mentoring programmes into the area. This Strategy takes account of and opportunities that will have capacity migration from and into Galway and proposes building for the future as a goal. a series of objectives that has a role to play in the mitigation of negative outcomes such as:

Diagram 2.1c Cultural Hub Model

Accomodation Programming Training & Residencies Audience / - Oﬃces & Curation Mentoring Client / Community Development

Elements

O P I

T E

A R

R A

T O

B O

lli e t

L at es

S S

Creative O

H C

A Hub Model I R n G d ls I iv a N N idu G I K G R R O OW T W ING NE Outputs

Greater Access Learning Education & CD early rogramme Anchor Tenants & articipation - Conﬁdence

12 Galway 2020 / Bid Book Two ~~ The identification of innovative cultural 2.2.1 INFRASTRUCTURE services that support greater mental and physical health such as the Cosán project. ~~ A new Funding and Resource Office. ~~ Better understanding of the needs of children, ~~ A new Events Management Office. young people and youth culture and increasing ~~ Development of new or disused spaces – supports and services for them through the Museum Sea Gate Quarter for MONUMENT p47. creation of new dedicated creative spaces. ~~ Support for creative hubs WINDOW ON ~~ Increased engagement with the older people THE WORLD p38/INTERACTION p39. through the Galway City and County Age ~~ Support for new creative enterprise units. eg. Friendly Alliance using cultural initiatives such Institute of Technology/Galway Film Centre as the Cultural Volunteers Programme. Creative Hub/Unesco City of Film NORTHERN ~~ Build on the cultural charter that has PERIPHERY TALENT CAMPUS p56, VR STORY been developed through implementing STUDIO p40 and IN THE THICK OF IT p39. the Us All In Cultural Inclusion Toolkit. ~~ Increase opportunities for intergenerational 2.2.2 PARTICIPATION engagement in cultural activities through the ~~ A common approach to communication, four city based community centres’ programmes. consultation, community and outreach. ~~ Create introductory programmes to the culture ~~ A cultural inclusion toolkit is being developed as of Galway for new migrants using cultural an action of the cultural strategy in collaboration institutions – VOYAGE IN TRANSLATION p57. with Galway 2020 that will be used by the City and County Councils to test accessibility and the 2.1.4 SUSTAINING CULTURE mitigation of barriers to cultural participation. We will sustain culture in Galway using the ~~ An action of the Cultural Strategy where framework provided by the cultural strategy and communities inform and train the cultural sector the ECOC 2020 designation. With the support on how best to engage and deliver to those hard of our experienced regional and European to reach and those who may think that ‘culture partners – we will provide ideal conditions is not for them’. CROSSTOWN TRAFFIC p62. to nurture and grow creativity, build capacity ~~ Knowledge transfer and learning where the first and create new infrastructures. Through our wave of cultural producers in Galway, European participation in EU programmes with EU partners artists and international mentors offer mentoring we will deliver new outcomes that will benefit and support to the next wave who will be central our cultural sector, our communities of interest to the sustainability of culture in Galway up and our visitors to Galway and the West. to and beyond 2025. WEIGH ANCHOR p42. This framework will play an important role in mitigating the reality of migration to and 2.2.3 PROGRAMME from the west and re-vitalising communities. ~~ Residencies – a key feature of the Cultural In aspiring to create a model of cultural Strategy action for the development of hubs is excellence for Europe, the framework will echoed in AN ARTIST IN EVERY PLACE p32. play a significant role in the development of sustainable careers in the cultural and creative ~~ Mobility programmes – a key feature sectors and in the support and resourcing of of hubs’ development echoed in the next generation of makers and innovators. SMALL TOWNS BIG IDEAS p36. ~~ Capacity building and mentoring platforms – 2.2 How is the European Capital of Culture a key feature of the strategy actions is echoed action included in this strategy? in GOVERN DANCE p53 dance project and CELLISSIMO p53 and the multi-annual nature In 2.1 we spoke of the combination of the of some projects that, by design, provide for Cultural Strategy and the Galway 2020 capacity building – GILGAMESH p43, MIDDLE bid becoming a model or framework for ISLAND p44 and HOPE IT RAINS p34. sustainable cultural development for Galway and by extension, for the West of Ireland. ~~ Supporting young people’s creativity – a dedicated hub echoed in the WIRES A range of actions that will deliver complimentary CROSSED p48 by Galway Community outcomes are described in the following Circus and HY BRASIL p58 a children and paragraphs and supported by examples schools project in addition to educational from the Galway 2020 programme. projects, THE IMMERSIVE CLASSROOM p59 and SYM-PHONIC WAVES p59.

Contribution to Long-Term Strategy 13 2.2.4 CULTURAL HERITAGE ~~ Addressing the deficit in cultural infrastructure through a ten-year building programme The Cultural Strategy and the programme that implements a cultural infrastructure reflect cultural heritage through a number of framework plan. If implemented in time examples, all of which deepen the link with it will provide new cultural venues and Europe and strengthen capacity in Galway. spaces for programme elements.

~~ MONUMENT p47 – this is being led by Galway ~~ Supporting the digital/online presence of City Museum and engages with six other cultural heritage organisations, craft workers, countries showcasing massive pre-historic designers, artists, producers and makers and all stone monuments on very small islands. those working in the creative industry sector – , p33 and p40. ~~ SEA TAMAGOTCHI p52 – this project features LONGITUDE LATITUDE PILGRIM our beautiful Irish language and the heritage ~~ Developing health and well-being projects of our coasts, linking in with other European for health care workers and service coast lines particularly where you find users – WAVES OF CHANGE p40. minoritised languages including Galicia, ~~ Identifying and supporting European mobility Basque Country, Sami Territories of Norway. projects, international residencies, access to ~~ TURAS CHONAMARA p35 (a strand within areas of excellence and curatorial exchange HOPE IT RAINS) features a combination programmes for cultural workers – of Galway’s unique brand of landscape GOVERN DANCE p53, GILGAMESH p43. and spirituality creating a customised ~~ Working with artists, heritage organisations, journey to some of the best pilgrim sites cultural players and educational institutions and holy wells that exist in the county. to build participative formal/informal learning platforms around new skills, entrepreneurship 2.2.5 NATURAL HERITAGE and creativity with hard-to-reach communities – THE IMMERSIVE CLASSROOM p69, ~~ The Cultural Strategy and the Galway VOYAGE AND TRANSLATION p57. 2020 Programme are engaged with a number of actions and projects that promote our connectivity to and 2.2.7 DEVELOPMENT THROUGH awareness of our natural environment. SHARED EXPERIENCE

~~ MIRRORED PAVILIONS (2020) p46 – In practically every aspect of the Galway which (literally) reflects the beauty of 2020 programme there are learning nature and includes innovative sustainable outcomes – particularly those that derive energy solutions in Ireland and Spain. from our European partnerships.

~~ HOPE IT RAINS’ GAEL-FORCE SYMPHONY p35 – designs musical instruments from 2.3 If your city is awarded the title of the found, naturally occurring materials. European Capital of Culture, what do you think would be the long-term cultural, 2.2.6 MANAGEMENT CAPACITY BUILDING social and economic impact on the city including in terms of urban development? Possibly one of the most important legacies of Galway 2020 is in the deepening of executive/ Each impact described in this section, 2.3, producer/manager skills and experience. The corresponds to specific evaluation metrics relevance of this training for the Cultural Strategy in Table 2.4b on pages 18 and 19. into the future is hugely significant, not least in terms of the multiple exposure which the Galway 2.3.1 CULTURAL 2020 team will have with European partners and EU agencies. Both the Cultural Strategy and the Cultural Capacity: Risk and Courage ECOC 2020 Team will build capacity through: Our consultation process revealed an urgent need to address a lack of investment in our ~~ Developing creative/innovative spaces existing artistic infrastructure, based on an and hubs for individuals, companies and open and objective analysis of current practice start-up businesses involved in the creative and prospective development. Strategic economy sector using a multi-disciplinary planning for succession and sustainability approach – GMIT Creative Hub. will be a prerequisite for justifying enhanced ~~ Increasing shared services across heritage financial and other investment, measured by: and arts provision – MONUMENT p47. ~~ An increase in the amount of work considered to be risky, bold or innovative. ~~ An increase in the range, quality and diversity of our cultural offering. ~~ An increase in the amount of work which is provocative and energising.

14 Galway 2020 / Bid Book Two Looking Outward: Europe and Beyond Facilitated by Galway’s long-term Cultural At the very start of this book we spoke of the Strategy, Galway 2020 will be a catalyst for need for renewal and strategic investment new models of cultural sustainability: in the artistic community. Galway 2020 wish to embrace the ECOC as a point of radical ~~ An increase in the number of artists departure from a safe traditional path. We working in sustainable careers. want to look outward and be inspired and ~~ An increase in the number of cultural influenced by the impulses of our European organisations operating sustainably in Galway. partners and a wider European community: ~~ An increase in the number of cultural ~~ An increase in the number of artistic producers/managers/entrepreneurs in Galway. collaborations between Galway and Europe. ~~ An increase in the economic contribution ~~ An increase in European audiences who of Galway’s creative sectors. virtually engage with Galway work. Cultural Infrastructure: Physical and Virtual ~~ An increase in the amount of work created in While Galway has thrived for decades as a city of Galway which addresses some of the biggest ‘pop-up culture’ in alternative and disused spaces, European and international issues of our time. there is a common acceptance that there is now a real need to develop a cultural infrastructure A new Culture: Inclusive and Participatory which is fit for the vision of a flourishing cultural Fundamental to our bid concept is the wish sector and creative industry through: to move beyond artistic and cultural activity often delivered in a large-scale, consumer- ~~ The development of a new suite of led, touristic context and create a legacy cultural facilities and creative hubs. whereby cultural practice is seen as a vital ~~ The development of a new digital value in a person’s everyday life, by: infrastructure for the sector. ~~ An increase in the number of people actively ~~ The upgrading and revival of participating in the curation, creation, production existing cultural infrastructure. and management of cultural events. ~~ An increased level of private sector ~~ An increase in the number of cross- involvement in support of cultural objectives. sectoral, inter-disciplinary collaborations with sectors of society who may never 2.3.3 SOCIAL have engaged with culture. ~~ An increase in the number of people who feel Rural/Urban Divide: Renewal and Recovery that culture is an integral part of their lives. We have talked openly about our growing problems of rural depopulation, social decline Language: Acceptance and Revival and a widening gap between our rural and Like many minority languages through Europe, urban communities. We believe the long term the Irish language is under constant threat. legacies of the ECOC title will include: Galway 2020 will use multilingualism as a European norm to promote and encourage ~~ An increase in the number of people the acceptance of the use of many languages participating in Cultural activities in rural Galway. in everyday life and more specifically the Irish ~~ An increased belief in the power of language. Defining legacies of the bid will include: culture as a driver of social recovery, empowerment and change. ~~ An increase in the number of people who speak Irish in their daily lives. ~~ An increased pride of place and spirit of unity in community. ~~ An increased appreciation of the positive benefits of multilingualism. Migration: Openness and Diversity ~~ A decrease in the level of racism towards While Europe struggles against a wave of speakers of languages other than English. closing borders, hearts and minds, Galway is seeking to challenge ambivalence towards difference and diversity. Some of the defining 2.3.2 ECONOMIC legacies of Galway’s bid will include:

Cultural Sustainability: ~~ A deeper trust that fairness and Capacity and Competence friendship are possible between people We have spoken of the disparity between of diverse cultural backgrounds. the outward presentation of Galway’s cultural scene as both vibrant and thriving, ~~ A more welcoming response and and the reality of the fragile and under deeper integration for those who arrive resourced ecosystem in which it exists. seeking refuge on our shores. ~~ A clear reduction in the incidence of reflexive racism and xenophobia.

Contribution to Long-Term Strategy 15 Europe: Understanding and Integration 2.4.2 OVER WHAT TIME FRAME Our peripheral geography, our island disconnection AND HOW REGULARLY WILL THE and our familial relationship with the United States EVALUATION BE CARRIED OUT? have in ways acted as barriers to a deep sense of ‘Europeanness’ amongst the people of Ireland. We Galway is committed to the implementation believe a defining legacy of our bid will include: of a 10 year longitudinal research strategy commencing in January 2017 (-3 years) and running ~~ The creation of the first generation to completion in 2027 (+7 years). After 2027 the of Irish people who genuinely see monitoring and evaluation framework will be themselves as European. maintained by the body responsible for Galway’s ~~ The creation of new, real and lasting social and long term cultural strategy as an indication of cultural bonds with our European neighbours. Galway’s long term commitment to the legacy of the ECOC (see detailed schedule table 2.4a). ~~ An increased appreciation and understanding of the culture, heritage, values, traditions and beliefs we share with our European family. 2.4.3 WILL CONCRETE OBJECTIVES AND MILESTONES BETWEEN THE DESIGNATION 2.4 Describe your plans for monitoring and AND THE YEAR OF THE TITLE BE INCLUDED evaluating the impact of the title on your IN YOUR EVALUATION PLAN? city and for disseminating the results of A preliminary set of objectives have been the evaluation. In particular, the following outlined as part of the evaluation framework questions could be considered: table outlined herein (see table 2.4b). The final sign off on these objectives will be completed 2.4.1 WHO WILL CARRY OUT THE EVALUATION? after an additional period of research and development with relevant stakeholders in the Galway has developed a comprehensive first half of 2017. (See2.4.4 regarding milestones) monitoring and evaluation framework based on ECOC Policy Group’s recommended practice and an additional suite of objectives and 2.4.4 WHAT BASELINE STUDIES OR SURVEYS performance indicators specific to Galway’s bid. IF ANY – DO YOU INTEND TO USE?

The organisational structure for the In the absence of a comprehensive set of baseline impact and monitoring programme will studies being available for the proposed range of consist of three core components: performance indicators, no specific milestones have been outlined at this stage of our bid. The ~~ Lead Organisation – An independent research schedule of proposed activities includes plans team from the world renowned ‘Insight Centre to establish a complete set of baseline studies for Data Analytics’ in the National University and predictive studies by the end of 2017 to of Ireland, Galway will carry out both the determine reasoned performance milestones monitoring and evaluation as part of the ECOC which will be included in our evaluation plan. ~~ Data and Legacy Sub Committee – A sub-committee of the board of Galway 2.4.5 WHAT SORT OF INFORMATION 2020 will be established to provide advice WILL YOU TRACK AND MONITOR? and assistance to both the Insight Centre of Data Analytics and the Galway 2020 The objectives, indicative indicators and proposed team but the monitoring structure will be sources of data which will be monitored as part independent of the sub-committee (6.18.7). of the ECOC monitoring programme are outlined in table 2.4b. Our monitoring framework metrics ~~ Galway 2020 Liaison – An evaluation and incorporate those recommended by ECOC and monitoring point of contact within the also some that are of unique interest to Galway. Galway 2020 team will act as the primary The proposed monitoring framework mirrors the liaison between the Insight Centre, the sub- predicted long-term impacts outlined in 2.3. committee and the Galway 2020 team.

An allocation of 1.5% of Galway’s overall project funding has been set aside for the implementation of the evaluation and monitoring process. It is the intention of the Insight Centre of Data Analytics to supplement the funding of the monitoring and evaluation programme with monies derived from project-specific industry partnerships and Science Foundation Ireland funding.

16 Galway 2020 / Bid Book Two Table 2.4a Proposed Schedule of Activities

Timeline Activities Outcomes

January 2017 Commencement Date. Commencement of Research Programme.

January 2017– Consultation & familiarisation with all previous June 2017 studies and international best practice.

Development of research framework in Publically available research framework with consultation with all relevant stakeholders. outlined Objectives, KPI’s & Sources of Data.

Final sign-off on monitoring framework.

Establishment of detailed research Reports outlining the research methodologies for the collection, methodologies to adopted. dissemination, analysis & review of data.

Commence data mapping exercise to establish initial framework benchmarks & to identify gaps in data.

June 2017– Establishment of baseline figures. Formal database of baseline metrics December 2017 and benchmarks for all objectives.

Projection/Predictive analysis to Qualified set of targets & milestones from establish reasoned performance targets which to measure the success of the ECOC. for all key objectives of the bid.

Establishment of the entire data tracking Real time data tracking infrastructure which will infrastructure including database structures facilitate automated collection of key sources of data. and API integrations with all known sources of data (3rd party organisations, G2020 mobile application, social media, local authorities etc.)

January 2018– Pre-ECOC interim monitoring programme Database of information on all KPIs being December 2019 tracked as part of the monitoring study.

December 2019 Pre-ECOC Evaluation Study Report outlining the final benchmark results before the commencement of the year itself.

Insight Centre to commence multi- Full body of academic research around year programme of PhD, masters the impact of Galway 2020. and undergraduate research.

January 2020– Intense monitoring of Year Long Activities. December 2020 Focus on the collation of primary field data and collection of information from existing secondary sources.

March 2021 Immediate Post-ECOC Evaluation Study. Report outlining the high level performance indicators of the year itself.

December 2021 Detailed Post-ECOC Evaluation. Release of detailed post-ECOC study.

January 2022– Post-ECOC monitoring of legacy with December 2027 evaluation reports issued every two years.

January 2028+ Monitoring & evaluation framework to be maintained by Galway’s long term cultural strategy with legacy evaluation reports to be issued in 2030 and 2035.

Contribution to Long-Term Strategy 17 Table 2.4b Proposed Objectives

Objectives Indicative Indicators Source of Data

Cultural

1 Cultural Capacity: Risk and Courage

1.1 An increase in the amount of work considered Expert Opinions/ Publications/ Surveys to be risky, bold and innovative Public Perception

1.2 An increase in the range, quality and diversity Total no. & value of Programme/ Surveys of the cultural offering in Galway cultural events

1.3 An increase in the amount of work which is both Expert Opinions/ Publications/ Surveys provocative and energising in nature. Public Perception

2 Looking Outward: Europe and Beyond

2.1 An increase in the number of artistic collaborations No. of collaborations Programme Database between Galway and Europe

2.2 An increase in European audiences who Size of online audience VCOC Database virtually engage with Galway work

2.3 An increase in the amount of work created in The number of projects Programme Database Galway which addresses some of the biggest addressing European European and international issues of our time themes and issues

2.4 An increase in the amount of work which highlights shared No. and value of projects Programme Database aspects of our European culture, heritage and values.

3 A New Culture: Inclusive and Participatory

3.1 An increase in the number of people actively participating in the No. of participants Surveys curation, creation, production and management of cultural events Programme Database

3.2 An increase in the number of cross-sectoral, inter disciplinary No. of collaborations Programme Database collaborations with groups outside of cultural sector

3.3 An increase in the number of people who feel Public Perception Survey that culture is an integral part of their lives

4 Language: Acceptance and Revival

4.1 An increase in the number of people who No. of Speakers Central Statistics speak Irish in their daily lives Office (CSO)

4.2 An increased appreciation of the positive benefits of multilingualism Public Perception Surveys

4.3 A decrease in the level of racism towards No. Reported Incidents European Network speakers of languages other than English Against Racism (ENAR)

Economic

5 Cultural Sustainability: Capacity and Competence

5.1 To increase the number of sustainable jobs No. of jobs CSO/Surveys available for artists in Galway

5.2 To increase the number of professional arts No. of Organisations Surveys organisations operating sustainably in Galway

5.3 To increase the skills and capacity of local cultural organisations Self Assessed Skills Level Organisation Data

5.4 To Increase the GDP of Galway’s creative sectors GDP of Creative Sector National Statistics

5.5 To Increase the local investment in cultural infrastructure Value of Investment Public Authorities

6 Economics: Economic Impact and Tourism

6.1 To increase the total number of visitors to Galway No. of visitors CSO

6.2 To increase the total revenue spent by tourists in Galway Total Revenue CSO

6.3 To increase the international awareness of Galway Awareness level Survey

Social

7 Rural/Urban Divide: Renewal and Recovery

7.1 An increase in the number of people participating No. of Participants Surveys in cultural activities in rural Galway

7.2 An increased belief in the power of cultural participation as Public Sentiment Surveys a driver of social recovery, empowerment and change

7.3 An increased pride of place and spirit of unity in community Public Sentiment Surveys

7.4 Decrease in perceived decay of rural towns & villages No. of vacant & Surveys derelict spaces

18 Galway 2020 / Bid Book Two Objectives Indicative Indicators Source of Data

8 Migration: Openness and Diversity

8.1 A deeper trust that fairness and friendship are possible Public Sentiment Surveys between people of diverse backgrounds

8.2 A more welcoming response & deeper integration Public Perception Surveys for those seeking refuge on our shores

8.3 A clear reduction in racisim and xenophobia in Galway No. of reported incidents ENAR

9 Europe: Understanding and Integration

9.1 The creation of the 1st generation of Irish people Public Opinion Surveys who genuinely see themselves as European

9.2 The creation of real and lasting social and cultural No. of social & cultural Programme Database bonds with our European neighbours connections Social Media

9.3 An increased appreciation and understanding Level of Public Surveys of the culture, heritage, values, traditions and Understanding beliefs we share with our European family

9.4 To increase citizens sense of belonging to a Public Perception Local Surveys common cultural space

Innovative Features ECOC Knowledge Network The evaluation and monitoring framework Galway 2020 will host a ‘knowledge sharing’ proposed is innovative in the following ways: conference with evaluation and monitoring experts Semantic Web & API Integrations from previous ECOC cities in 2018 on the topic In line with Galway’s ambitions to become the first of successes, failures and lessons learned as truly Virtual Capital of Culture we are proposing a well as the evaluation and monitoring of ECOC’s. major step change in the manner in which data is The goal of the conference will be the sharing collected as part of our evaluation and monitoring of good practice and exchange of intelligence programme. The planned methodology will use in relation to the delivery of the evaluation and the power of mobile technologies, semantic monitoring programme. Galway will also host a technologies, real time API (application program conference in 2026, following the completion interface) integrations and data analytics to extract of our 10 year evaluation process, to assess the real-time insights. The semantically enriched long term impacts of the ECOC and to ensure the API integrations will compose a central Galway widest possible dissemination of our learnings 2020 data cloud which will be open to both amongst other ECOC designated cities. citizens and independent researchers alike. It is envisaged that this ambitious plan to create 2.4.6 HOW WILL YOU DEFINE ‘SUCCESS’? a county wide data collection ecosystem will be one of the defining legacies of the ECOC For us ‘success’ will be defined by our ability to and Galway’s long term cultural strategy. meet the objectives outlined in the table above while staying true to the process, visions and The proposed policies contained in 3.2.2 ideals outlined in this bid book. The ultimate Intellectual Property Rights will apply to any rights arbiters of our success will be the citizens of or obligations arising from the development of Galway and Europe whose holistic perceptions algorithms, software or hardware developed in the of success will be defined by the positive context of the monitoring and evaluation process. and enduring influence of the programme on their lives and the lives of others. Galway 2020 Human Stories As identified in phase one of Galway’s bid it is planned to develop a Galway 2020 book of stories, videos, photos and audio recordings that will detail the experience of 365 people across the programme. We feel this story book of human experiences will further complement our metric focused monitoring and evaluation approach and offer citizens across Europe a real insight into how a cultural programme can impact, in a very real way, on people’s lives, aspirations and overall confidence.

Contribution to Long-Term Strategy 19 3. EUROPEAN DIMENSION

20 Galway 2020 / Bid Book Two 3.1 Elaborate on the scope and Artists from Scotland, Austria and Germany quality of the activities: collaborated with local artists and communities in pilot projects for AN ARTIST IN EVERY PLACE p32. ~~ Promoting the cultural diversity of Europe, Co-curated with UZ Arts (Scotland) of the InSitu intercultural dialogue and greater mutual Network, the projects are across urban and rural understanding between European citizens. locations involving an environmental community ~~ Highlighting the common aspects group, workplace choirs, and traditional boat of European cultures, heritage and builders in partnership with the Marine Institute history, as well as European integration of Ireland. Galway 2020 intends to be a member and current European themes. of the InSitu Network and will work in partnership to create the most significant Irish residency ~~ Featuring European artists, cooperation programme of European and local artists ever. with operators and cities in different countries and transnational partnerships. 3.1.1 KEY THEMES

~~ Name some European and international The key themes of our bid – Migration, artists, operators and cities with which Landscape and Language – are serious cooperation is envisaged and specify the priorities on Europe’s agenda over the next five type of exchanges in question. Name the years at both institutional and citizen levels. transnational partnerships your city has already established or plans to establish. Migration With over 24% of Galway’s population being foreign Galway 2020’s European Dimension is multi- born, Galway 2020’s lens on European themes is faceted with most projects containing multiple specifically on rural depopulation/repopulation, European strategies of partnership, mentoring, recognition of cultural diversity, integration, and exchange, themes, co-creation and co- isolation due to technology and exclusion. For production. National and European contexts much of Europe and indeed Galway, we are are seen as complimentary objectives within challenged to integrate the refugees currently the bid. The challenges in European society arriving along the Mediterranean into the daily are mirrored closely within Irish society. lives of our cities and towns. The programme Co-operation is the driver of all parts of the contains large to small scale projects where direct programme – whether that be interdisciplinary, community participation in productions is used to intercultural or trans-local. To create personal provoke debate, and challenge insular thinking. relationships between artists, academics and MIDDLE ISLAND p44 which is a drama set on Inis activists from Ireland, Iceland, Poland, Wales, Meáin and the Island of Corsica shows similarities Scotland, the United Kingdom, Germany, in the suffering being experienced by different Sweden and Austria, Galway 2020 organised oppressed people. It speaks to local communities four days of workshops on the themes of about acceptance that they are not isolated in language, landscape and language. Projects Europe, and explores the varied experiences including SEA TAMAGOTCHI p52, AISTRIÚ p52 of migrating people. Ultimately it contributes to and MIDDLE ISLAND p44 were augmented the creation of new forms of European culture. by creative input from these workshops. SPIRITUS p45 brings together youth, community These trans-local personal relationships across and professional orchestras and choirs for mass Europe build tolerance and understanding and give participation in a musical rebellion to protect communities an environment of trust in which to openness, participation and shared ritual. It explore, take risks, support, converse, disagree, and is located in a place which has welcomed crucially sometimes to fail, but ultimately to flourish a variety of religious faiths for centuries. A together. Members of the community-activated smaller number of these voices will then HEADFORD 2020 p69 pilot project within SMALL travel to perform in Germany at festivals co- TOWNS, BIG IDEAS p36 reached out to friends, ordinated by Elbipolis Baroque Orchestra. family and old school connections in Lithuania, Finland, Italy, Poland and Spain to find solutions to the daily issues facing small communities. This has culminated in a new local festival. The resulting increased ambition and momentum has created a community full of ideas and the drive to implement a shared vision for what they wish their small town to be. Partnerships with the European Network for Cultural Centres and Europa Nostra will work in partnership with these communities.

European Dimension 21 Language SRUTH NA TEANGA p45, brings together a new The acceptance of linguistic diversity within, as team of 21 European artists from eight countries. well as, across boundaries is a significant European Using Gaelic legends, the intercultural team will challenge. Many European countries have yet to co-create an immersive site-specific interdisciplinary come to terms with their own internal linguistic project. This collaborative decision-making diversity. The inclusion of language within projects process will enhance and sharpen the European throughout the programme will be used to promote essence in staging, lighting and production and encourage the acceptance and use of many while delivering a truly authentic Irish story. languages, combatting the casual racism which many European minority language communities 3.1.3 INTERCULTURAL DIALOGUE AND encounter in everyday life. The breaking down of GREATER MUTUAL UNDERSTANDING linguistic stereotypes through a new interpretation of the European Language Passport by artists, Intercultural dialogue and greater mutual writers, communities and linguists within the MAKE understanding lead to the acceptance of the right, p32 strand of AN ARTIST IN EVERY PLACE p32. the respect and the dignity of being different – FAOI RÚN p35 an artistic strand within HOPE IT creating waves of welcome and acceptance. Our RAINS p34 will see people encountering words of programme is true to the principle that the more many languages activated by rain as they appear we share, the more we learn. Using established under their feet throughout the city and county. European programme models such as Erasmus to promote intercultural dialogue and exchange, Landscape we will embrace the experiences of academic, The long established tradition of Galway’s rural activist and sectoral practitioners. Our cultural and marine landscape as a central character within programme will allow participants to experience artists’ work will be challenged and disrupted. and interact with unfamiliar cultural expressions. John Gerrard’s MIRRORED PAVILIONS (2020) p46 spanning in the fast-flowing River Corrib, rising WIRES CROSSED p48 brings together 40 out of the Connemara landscape and embedded participants from nine community circuses for in Santander, harnesses local energy sources international workshops, exchange programmes, to create installations to be witnessed both day masterclasses in Belfast, Brussels, Luxembourg, and night. AN ARTIST IN EVERY PLACE p69 as Berlin, Norsberg, Bagneux, Tampere, Bucharest the largest ever artist residency programme in and Afghanistan in a new tight-rope community Ireland will challenge our idea of where and how circus programme. Tight-rope walking requires audiences experience art. However, the creation balance, self-control and courage, it makes us face of a new landscape through Virtual Reality allows our fears and trust in ourselves. Each participating for continuing and sustainable growth of Galway’s community circus will have an extensive outreach creative industries. INTERACTION p39 and VR and public engagement programme all coming STORY STUDIO p40 are programmes of workshops, together in 2020 for the world’s largest ever masterclasses, mentoring and experimentation tight-rope spectacle across the river Corrib. in dramatic, visual and audiovisual storytelling in the virtual landscape. They help to create INTERACTION p39 brings together local theatre- places of innovation, training and technology. makers with leading European theatre and technology practitioners to explore human passivity and responsibility in the 21st century. 3.1.2 CULTURAL DIVERSITY OF EUROPE This innovative and risky project takes mentoriship Cultural diversity is the anthithesis of cultural and support from Punchdrunk (UK), Ars Electronia uniformity. The strategy Galway 2020 follows (AT), Platiges (PL), Doodpard (NL), Ontroerend Goed is that warm personal connections introduce (BE), CREW (BE) in an experimental laboratory visiting artists/activists directly into the heart process. The use of sensor/IOT technologies of the community. Institutions provide a brings passive viewers directly into the medium framework of support alongside these to of co-creating their own theatrical experiences. demonstrate a truly immersive interaction. TAKE MY SEAT p54 relates the very personal stories of GoBus passengers as they make their way BUA TEANGACHA p52 continues the work of Ealaín na Gaeltachta, Celtic Neighbours (Wales), from Dublin Airport and city to Galway and vice TxalapART (Basque Country) and Afuk (Friesland) versa. From questions such as, what do they do bringing together minority language, traditional on the bus? Where are they travelling to? When music, song and voice for a carnival of words. did they make their first journey? We share in their joy and sadness but ultimately understand a little more of the people we sit beside on the bus.

22 Galway 2020 / Bid Book Two 3.1.4 COMMON ASPECTS OF EUROPEAN 3.1.5 EUROPEAN ARTISTS, OPERATORS, CITIES CULTURES, INTEGRATION AND THEMES AND TRANSNATIONAL PARTNERSHIPS

We understand the phrase ‘common ECOC is the catalyst to ensure Galway’s cultural aspects of European cultures, heritage and producers look beyond their own boundaries history’ to mean our shared experiences, to learn, co-create and co-operate with feelings, traditions or beliefs – that you don’t European artists and cultural operations. feel like a stranger in another place. A key component of our programme was MONUMENT p47 connects stone monuments the inclusion of European partnerships from on European small islands from Aran to the very outset. The specific partnership Orkney, Gavrinis, Pantellaria and Malta for a details are found within the individual project new international exhibition. The elements information of the cultural programme. (4.2) of the exhibition will be co-created through archaeology, architecture, craft and SMALL TOWNS, BIG IDEAS p36 involves the design, construction and sustainability. European Network of Cultural Centres (ENCC), Europa Nostra and the eNtopia programme to THEN AND NOW p33 examines the history of support capacity building within rural communities, Imperialism and how colonialism continues connecting them trans-locally within their networks. to shape our current condition using the symbol of English rule, the Big House. WINDOW ON THE WORLD p38 programme is Leading national and international artists supported through partnership, co-creation challenge our vision of our collective histories, and co-operation with world technology its contradictions and complexities. leaders such as Ars Electronica (Austria), MIT Media Lab (USA), Sundance Institute (USA), SEA TAMAGOTCHI p52 collects the words of UNESCO Cities of Media Arts in York (UK), coastal communities in Connemara, Galicia and Lyon (FR) and Linz (AT) with UNESCO Cities the Sami Territories. Words in minority languages of Film in Bradford (UK) and Rome (IT). which describe similar ways of life, shared common challenges, climatic events, isolation AN ARTIST IN EVERY PLACE p32 will benefit from and perseverance, show us that European life membership of European networks such as InSitu, close to the power of the sea is all too familiar. Europe’s largest network of publicly engaged art.

We understand ‘European Integration’ as International conferences which will be the development of a European identity, the hosted as part of Galway 2020 include the acknowledgement of a shared value system International Federation for Theatre Research based on democracy, human rights and law. (IFTR) and Annual International Conference of Business and Professional Women in 2019. NORTHERN PERIPHERY – TALENT CAMPUS p56 sees young European documentary makers Fresh Street #3, the Circostrada European examine and create short documentaries Network congress of Street Arts, will be on regional communities across Europe, hosted in Galway in June 2019. exploring themes of rural isolation, language, ENCORE, the environmental conference of the ageing populations and integration of new Regions of Europe, will be held in Galway in 2020. communities. The workshop and mentoring programme will see leading European documentary makers work alongside trainers, academics and community leaders.

CROSSING THE LINES p55 places main-stream training opportunities for actors currently working in special training progammes for artists with intellectual disability. This pan European programme will heighten awareness of professional theatre by people with intellectual disability.

ECOC is the catalyst to ensure Galway’s cultural producers look beyond their own boundaries to learn, co-create and co-operate with European artists and cultural operations.

European Dimension 23 3.2 Can you explain your strategy 360’ Virtual Reality Broadcasting to attract the interest of a broad Galway has partnered with eight out of the European and International Public? world’s top ten virtual reality content agencies including Jaunt VR, Unit9 VR and Visualise VR 3.2.1 STRATEGY to become the first European Capital of Culture to broadcast all events and activities in live Our primary focus will be on providing 360’ virtual reality. Citizens from across Europe opportunities for citizens across Europe to will be able to fully immerse themselves in remotely experience and participate in Galway live events and performances which are taking 2020 in their own countries, supplemented by place in Galway. Stereoscopic video and three more conventional initiatives to attract European dimensional sound will empower full 360’ visual audiences to come to Galway. This outward and omni directional audio immersion allowing looking participation strategy has been built on citizens to look around the live event in any three main pillars of activities which will seek direction as if they themselves were at the event. to bring Galway 2020 to Europe and beyond Real Time Holoportations ~~ Virtual Capital of Culture Galway 2020 will work alongside project partners ~~ Travelling Events – Dul Amach (Go Out) Musion and Smirvirtua to use emerging hologram mediums and augmented reality technologies ~~ Diaspora and Community Hospitality to enable live holographic projections of events – Tar Isteach (Come In) occurring in Galway to be experienced around Fundamental to our strategy is the belief that for the world. Holoportation is a new type of 3D Galway 2020 to truly have an impact on the defining capture technology that allows high-quality European issues of our time and for our programme 3D models of people to be reconstructed, to genuinely Make Waves across Europe we must compressed and transmitted anywhere in empower mass remote participation by citizens the world in real time. When combined with across Europe who are not able to travel to Galway. augmented reality displays this technology will allow citizens across Europe remotely experience artistic performances and events which are 3.2.2 VIRTUAL CAPITAL OF CULTURE happening in Galway in their own place.

Our vision is to empower as many of Europe’s Participate Anywhere in the World 500m citizens as possible to remotely experience, Working alongside our project partners at MIT participate and connect with Galway’s Media Lab and the Ars Electronica Future Lab, programme, in virtually immersive worlds. Galway 2020 is seeking to move beyond the Galway aims to build on its status as the largest concept of passive audiences by empowering ever digital capital of culture by running the remote audiences around the world with the first fully Virtual Capital of Culture. Our goal is to dramatic discretion to dictate aspects of live revolutionize the way in which people remotely performances from their own homes. Sensor/ experience and participate in cultural events IOT technologies, mobile technologies, by exploring emerging possibilities of infinitely interactive gaming and immersive virtual connected virtual worlds and shared states of mediums (VR/AR/Holo) will be used to connect complete immersion, agency and presence. European audiences with the experience of other people, non-human objects and space Mixed Reality Teleoperations in ways never previously deemed possible. Galway will work alongside project partners MIT Media Lab and Ars Electronica to develop the Digital & Citizen Broadcasting world’s first linked network of virtually immersive, In addition to the use of emerging virtual multi-user environments (20m x 20m cubes) in reality, augmented reality and mixed reality seven cities across the globe including Tokyo, mediums, a conventional programme of digital Dubai, New York, Linz, Galway, Boston and broadcasting will be run across our entire Shanghai. European and international audiences programme. Galway 2020 will establish a ‘live will share the same mixed reality spaces (virtual and broadcasting’ and a ‘Video on Demand’ platform physical) and will be able to see, feel, hear, touch which will be used to stream projects, events and interact with each other in new virtualized and activities across web and mobile channels. worlds as if they were in the same physical space. Galway has developed an ambitious Europe- These effective virtual teleportation’s will seek wide programme of citizen broadcasting to transform the way citizens across the globe which will involve citizens and artists across collectively experience cultural events together. Europe reporting on some of the defining issues of our time through the lens of their own local context and personal experiences.

24 Galway 2020 / Bid Book Two A Virtual Programme Training Inspired by the vision of creating a programme The delivery of the Virtual Capital of Culture that can be experienced by audiences from on an international platform(s) will require a anywhere in the world, nearly 60% of the projects significant engagement of specialist personnel in Galway’s programme are entirely digital in and the VCOC section in the organisational nature or will have a significant digital existence. structure (6.18) will have responsibility for Projects including LATITUDE-LONGITUDE p33, outsourcing and /or training the required staff. CUBE CONNECTED CITIES p39 and VR STORY STUDIO p40 will produce artistic experiences 3.2.3 DIASPORA AND HOSPITALITY which can be experienced from anywhere in the world, re-inventing conventional notions of Tribal Gathering physical exhibitions and walled infrastructure. Our vision is to mobilise the Galway and Irish diaspora around the world, in particular those This digital element has been designed into each in the USA, Canada and throughout Europe, project from the outset and will be interwoven to self-organise their own ‘tribal gatherings’ throughout the entire programme. A full strand in overseas communities worldwide. of projects within the artistic programme entitled As a country of migrants, Ireland has an estimated WINDOW ON THE WORLD p38 will use emerging diaspora of over 70 million people living around technologies and virtual mediums as new forms the world (14 times greater than the population of of artistic expression in their own right to immerse Ireland). Galway 2020 has partnered with Ireland’s people in entirely new artistic experiences, tell largest diaspora organisation ‘Ireland Reaching stories in completely new ways and look at Out’ to develop The Tribal Gathering initiative the world from entirely new perspectives. which will aim to mobilise the Galway and Irish Diaspora abroad. These Tribal Gatherings, events Example Projects Sample Virtual Components and cultural activities will be organised in Irish migrant communities across the world through Cube Connected Cities Mixed Reality Artistic Experiences close collaboration with the Irish Embassies County of Screens Augmented Reality Film Tours Network, Irish Abroad Network and a network of Galway ambassadorial teams around the world. (un)Inhabitants Holographic Projections The Tribal Gathering will not be a single interAction Pervasive Media/IOT and event but will provide an umbrella framework Immersive Mediums for activities varying from cultural events, VR Story Studio Virtual Reality Film Making clan gatherings and townland festivals.

Middle Island 360’ Virtual Reality Broadcasting The project will be delivered by a dedicated team at ‘Ireland Reaching Out’ alongside a Longitude-Latitude Virtual Reality Visual Arts Festival network of 500 Ireland Reaching Out volunteers across the country. Ireland Reaching Out is Immersive Classroom Classroom Coding & Virtual/ Augmented Reality Art Ireland’s dedicated national database for the Diaspora which has direct communications Intellectual Property Rights to over 10 million people across the world. It is recognised that in developing our Virtual Capital of Culture (and the monitoring and Tar Isteach (Come In) evaluation process at 2.4) various issues Our vision is to attract the interest of a broad concerning intellectual property rights and European and International audience by providing obligations may arise as well as data protection an unprecedented level of community hospitality issues. Galway 2020 will employ the highest and personalised immersion in Irish culture. standards in ensuring that licensing and other Ireland has a long and proud tradition of inviting arrangements for the use of pre-existing software international visitors to stay as guests in our will be adhered to. In the event that Galway 2020 communities. As hosts of the Special Olympics in creates or contributes to the creation of new, 2003, our Host Towns programme saw 350,000 and potentially valuable, algorithms, appropriate visitors from all over the world staying as guests steps will be taken to register and protect such in family homes around the country. Galway 2020 investment. Galway 2020 will apply any income wishes to build upon Ireland’s reputation as the stream that might arise from such exploitation land of a 100,000 welcomes – ‘Céad Míle Fáilte’ of rights, towards the aims and objectives of the – and to continue this tradition of community Cultural Strategy. Data Protection legislation in hospitality by inviting people from around the world Ireland and in Europe will be fully respected. to ‘Tar Isteach’ or ‘Come Inside’ as our guests.

European Dimension 25 A core feature of the ‘Tar Isteach’ host programme SEA TAMAGOTCHI p52 Galicia, Basque will be the promotion of reciprocated culture Country and Sámi Territories swaps between our host ambassadors and Sea Tamagotchi is a pedal-powered harvester guests. Visitors to our shores will be invited to and redistributor of endangered seaside words and place-names which will travel ~~ Stay as guests in our family homes ‘Tar Isteach’ along the ocean frontiers of Galway, Galicia, ~~ Learn and exchange aspects of our shared Basque Country and the Sámi Territories. European culture e.g. Dance, Language, Music (UN)INHABITANTS p40 Sardinia, Malmo, Glasgow ~~ Socialise with locals e.g. ‘Have a pint’, Using holographic projections (un)Inhabitants Traditional Music Session. will gradually re-people the bustling streets of The initiative will be modelled upon moneyless Galway, Sardina, Malmo and Glasgow with its versions of modern house sharing technologies forgotten, overlooked and ‘missed’ persons. such as AirBnB and Home Exchange. This initiative will allow visitors to Galway to delve into the rich MONUMENT p47 nine Countries layers and idiosyncrasies of local culture that Monument will showcase the most impressive are not easily accessible but appeal greatly to and beautiful stone monuments from small the more adventurous and culturally curious. islands across Europe including Islands in Take a street art tour, jump straight into the Scotland, Sweden, Denmark, Wales, United local gaming scene or attend a Gaelic hurling Kingdom, France, Spain, Italy and Malta. match with a lifelong fan. This will strengthen the absorption capacity for visitors as detailed in 5.4. 3.3 To what extent do you plan to develop links between your cultural programme and the cultural programme of other cities holding 3.2.4 TRAVELLING PROJECTS – the European Capital of Culture title? ‘DUL AMACH’ (GO OUT) As mentioned in 1.1.3, the experience and Our vision is that citizens across Europe will planning of other ECOCs was an important part be able to experience first-hand Galway of the framing of our public engagement process 2020 events and activities which physically and continues to be an inspiration for us. travel to locations around Europe While Galway has ambitious plans to empower Galway 2020 has progressed its links with the as many of Europe’s 500m citizens to remotely cultural programme and team of Rijeka 2020 with experience its programme through virtual or digital numerous discussions on our shared themes. means, this will never beat the magic of physically A programme for sustainable communities is experiencing live events and performances shared between 27 Neighbourhoods (Rijeka first hand. It is with this in mind that Galway has 2020) and SMALL TOWNS, BIG IDEAS p36 in designed an ambitious programme of projects our programme. Both cities will collaborate on which will ‘Dul Amach (Go out)’ and travel to continuing artist development, exchange and locations around Europe. Some examples include: residency programme through AN ARTIST IN EVERY PLACE p32. THE IMMERSIVE CLASSROOM MIRRORED PAVILIONS 2020 p46 Santander p59 new immersive digital technology programme Mirrored Pavilions will see the creation of three new for teachers will see schools in Rijeka participating interactive sculptures throughout Europe. These in its online environment. Individual artists from reflective 100 metre pavilions will blend into the Rijeka will participate in PROJECT BAA BAA p51, landscapes of Galway, Connemara and Santander. ARIAL SPARKS p33 and WIRES CROSSED p48.

MIDDLE ISLAND p44 Corsica Galway 2020 has deepened its connection to the Middle Island is a theatre production which cultural programme and programme teams of San will tell the story of Mary’s life after the death Sebastian (E), Leeuwarden (NL), Matera (IT), Plovdiv of her son, Jesus. The project will start on (BG) and Valetta (MT). These cities will partner with the island of Corsica before travelling to an Galway 2020 in our flagship projects, AN ARTIST island off the coast of Galway (Inis Meáin). IN EVERY PLACE p32, SMALL TOWNS, BIG IDEAS p36, p34 and in some elements GOVERN DANCE p53 Bucharest, London HOPE IT RAINS Govern Dance will explore new ways of of WINDOW ON THE WORLD p38. Participation in working in a world of connected networks, meetings for ECOC designated and candidate open data and geographically mobile cities by networks such as InSitu, Edgeryders populations, with residencies and exchanges and IETM assist in building strong personal taking place in Bucharest and London. connections to the teams and their programmes. These connections provide access to invaluable local knowledge on co-producing partners, artists working within specific practices relevant to Galway 2020’s themes and shared objectives.

26 Galway 2020 / Bid Book Two Candidate cities such as Bucharest, Timisoara, Galway’s practice is based on the principle that Cluj-Napoca, Elefesis and Kalamata regularly share the more you share, the more you learn. We information with Galway on project development propose to host a meeting in the years 2018 and and mechanisms on how to engage local again in 2025, of ECOCs past, present and future communities. Through this shared communication, to advise and participate in the preparation, cultural integration and knowledge of each monitoring and evaluation process (see 2.4). other’s cities have already taken place and are part of the steady building blocks which will be Links with previous ECOC cities are found within used in the coming years to develop and co- the connection to Linz as a fellow member of create meaningful programmes of exchange. the UNESCO Creative Cities Network and with Ars Electronica through strong partnership in The pattern of cross-over and convergence the WINDOW ON THE WORLD p38 programme. of projects in the cultural programmes of these European cities can be seen in Galway’s Ireland’s participation in the Tosta project in projects. Shared themes of rural development, Donostia/San Sebastian 2016 and Galway 2020’s sustainable communities, depopulation and partnership in LWD18’s Home of Languages has migration, minority languages, integration, progressed to the shared co-development of BUA support for continued development of the TEANGACHA – GIFT OF LANGUAGE p52, a carnival of creative industries, artists exchange and residency minority languages through voice, song and music. programmes all resonate deeply within projects. Confirmed participation in projects and partnerships of ECOC cities are detailed in the information for individual projects.

Map of European Partners, Tour Destinations and ECOCs

Cardiﬀ

European Dimension 27 4. CULTURAL & ARTISTIC CONTENT

28 Galway 2020 / Bid Book Two 4.1 What is the artistic vision and strategy for the cultural programme for the year?

4.1.1 OUR ARTISTIC VISION The artistic vision for our cultural programme is that it will be authentically of Galway, while being presented through a European lens and supported by partners and collaborators in Europe and beyond.

It showcases our cultural heritage, our people’s 4.1.2 INCLUSION AND CAPACITY BUILDING identity, how we imagine ourselves as Irish Europeans and how we embrace challenge and The artistic vision for the programme, inspired risk. It will also illustrate the extraordinary ambition, entirely by the possibility of Galway being the ECOC creativity and deliverability that Galway can achieve 2020 for Ireland, reflects the process by which it and which it has been achieving in terms of major was generated. It is true to the diverse range of international cultural events and festivals for many people, organisations, communities and sectors years. Our vision is to make waves and to place that informed the projects that will be delivered culture at the heart of what it means to be in and across the years of the designation. At the heart of of Galway. It will inspire people to ‘love where the vision is inclusion. Inclusion in the sense that they live’ and to ‘live where they love’ be they fifth Galway City and County and its people will work in or sixth generation Irish or newly arrived from harmony to present an authentic cultural expression Europe, Africa, the Middle East, North America to Europe while being open and receptive to or Australia. We are positioned on the edge of the influences and impulses that the European Europe and looking West to America; our vision partners bring to the range of projects we have. is that our cultural programme will have both an For the first time in a long time, the feeling of edge to challenge the status quo and a centrality cultural stasis that has permeated the sector in showcasing international quality and crucially, will Galway for some years (compounded by biting have a WOW! factor that will attract new eyes to austerity and large cuts to Ireland’s culture budgets) Galway both in person and in a virtual context. can be redressed. The combination of the high level artistic expertise and achievement of existing cultural organisations (Druid, Galway International Arts Festival, Macnas, Galway Film Fleadh, Branar), the ambition and courage of independent artists and cultural producers (Tulca Visual Arts Festival, Galway Community Circus, artists Louise Manifold, Máiréad Ní Chronaín) and the commissioning of international works (NVA Glasgow, Susan Philipz, Mathieu Kleyebe Abbonenc) will be harnessed to build a strong and credible framework of deliverability and capacity building.

Cultural & Artistic Content 29 4.1.3 SUPPORTING AMBITION 4.2 Describe the structure of the cultural programme including the range and We have strategically conflated some projects diversity of the activities/main events that that were emerging from the same core idea to will mark the year. For each one please form one strong and compelling project. This has supply the following information date encouraged artists to work together where they and place, project partners, financing. previously had intended to work alone. A huge revelation for us was the extraordinary ambition of The cultural programme is structured around many local artists and organisations who presented the concept of Making Waves – a bold and project ideas which, under intensive development fearless pursuit of creative excellence and and interrogation, evolved into multi-stranded cultural integrity. Making Waves encapsulates our programmes comprising a suite of complementary motivations for bidding to be ECOC and allows projects. A prime example of this is HOPE IT us to be courageous and disruptive, but also to RAINS p34 led by Galway artist, Ríonach Ní Néill joyfully celebrate our unique cultural heritage who is best known as a dancer and choreographer in collaboration with a wide range of European but whose academic past was in urban geography. partners and audiences. We know that our She developed a project that aims to change our programme is relevant, will make an impact and (and our European neighbours’) attitude to the will ultimately lead to long-term relationships, unpredictable weather in Ireland where, typically, collaborations and exchanges between Irish cities, it rains 225 days of the year in the West. This will be including those in the ECOC bidding process, achieved through project strands engaging with and European partners with whom we will work. playground design, green infrastructure, water management, renewable energy, landscape and 4.2.1 CULTURAL PROGRAMME STRUCTURE heritage – all common European themes. She brings to the project German, Swedish and French The structure of the Galway 2020 collaborators, academics and urban planners. programme comprises Four Flagship Programmes complemented by a suite The analysis of our programme, as it was emerging, of vibrant, challenging and ambitious has informed our strategy. We identified four projects, under four distinct headings. Flagship programmes that are thematically linked and when combined, have the capacity to deliver significant legacy and cultural capacity 4.2.2 FLAGSHIP PROGRAMMES in Galway and a series of strong European A number of project proposals that emerged in collaborations. Three of these programmes have Phase I were so compelling and creative it was emerged through our consultation process – obvious they were not stand-alone projects but SMALL TOWNS, BIG IDEAS p36, AN ARTIST were, in fact, multi-faceted programmes. The many IN EVERY PLACE p32 and the aforementioned projects comprising these programmes will allow HOPE IT RAINS p34, and the fourth, WINDOW us to reach into the core of our communities and ON THE WORLD p38 is a clear example of the create waves from the inside out. We call these our energy, innovation and experimentation that exists four Flagship Programmes. They are deliberately in the creative industries and the younger artistic constructed around issues, concerns and areas community in Galway. Each of these four is a multi- of great interest that pre-occupy us on a local, annual programme which will run from 2017 to 2020 trans-local, national, European and international and, in fact, in three of the four cases, we adopted level. We have harnessed the energies of our a strategy to pilot the projects so that we could communities, our artists, their European partners, interrogate the feasibility and the level of interest institutions, organisations, and independent within the cultural community in Galway and among producers to build our Flagships, three of which potential European collaborators. We have learned we have already launched with pilot projects in from this process and are now certain that these June and July 2016. So, what are these projects three programmes have the potential for enormous and why will they disrupt and inspire change? impact in terms of legacy, cultural capacity building, a clear connection with the Cultural Strategy, career sustainability and integration across sectors 4.2.3 PROJECT SUITES e.g. business, agriculture, science, urban planning We have developed an extremely strong and well– and community development. We believe our considered set of project suites to complement vision and strategy illustrate a compelling cultural our four over-arching Flagship Programmes offering across performance, public engagement, – namely, LAUNCHING AND LANDING p41, visual arts, community interventions, national WEIGH ANCHOR p42, SHIP TO SHORE p51 and and international collaborations, street spectacle FORWARD MOTION p58. Each of these suites, and smaller contemplative moments. The vision and the projects housed therein, are described reflects our concept ofMaking Waves strategically in detail after the Flagship programmes. delivers on our themes of migration (rural/ urban depopulation), landscape and language.

30 Galway 2020 / Bid Book Two 4.2.4 STRUCTURE OF PROGRAMME

FLAGSHIPS PROGRAMMES AN ARTIST IN EVERY PLACE p32 HOPE IT RAINS p34 SMALL TOWNS, BIG IDEAS p36 WINDOW ON THE WORLD p38 LAUNCHING AND LANDING CO-CREATED LAUNCHING EVENT February p41 AURORA WEST December WEIGH ANCHOR GILGAMESH p43 p42 MIDDLE ISLAND p44 SPIRITUS p45 SRUTH NA TEANGA – FLOW OF LANGUAGE p45 JOHN GERRARD – MIRRORED PAVILIONS (2020) p46 MONUMENT p47 PROMISED PARADISES p47 WIRES CROSSED: A BALANCING ACT FOR EUROPE p48 GALWAY GHOST TRAIN p49 SHIP TO SHORE PROJECT BAA BAA! p51 p51 AISTRIÚ: CROSSING TERRITORIES p52 BUA TEANGACHA: THE GIFT OF TONGUES p52

SEA TAMAGOTCHI p52 CELLISSIMO p53 SONGS FROM AND OPEN ROAD p53 GOVERN DANCE: THE NEW WAVE p53 KITCHEN ISLAND DANCES p54 TAKE MY SEAT p54 TRIBES: THE PRIDE OF THE PARISH p55 CROSSING THE LINES p55 EYE ON THE EDGE p55 LIVE FEED p56 NORTHERN PERIPHERIES p56 PERIPHERAL VISION p56 VOYAGE AND TRANSLATION p57 WEST WORDS p57 FORWARD MOTION HY BRASIL p58 p58 SYM-PHONIC WAVES p59 THE IMMERSIVE CLASSROOM p59 National University of Ireland, Galway p60 Galway Mayo Institute of Technology p60

Cultural & Artistic Content 31 National Partners CREATE – national organisation for collaborative AN ARTIST arts, The Marine Institute, Galway City and County Council (Cultural IN EVERY PLACE Strategy), Tulca Festival of Visual Arts, Visual Arts Ireland, nine Local Galway 2020, UZ Arts, Tulca Festival of Visual Arts, Authority Parterships, School of CREATE National Development Agency for Collaborative Arts Languages, Literature and Cultures in NUI Galway, Office of Public Galway intends for this to be the most significant programme of Works, Embassy of France, Ireland, Kerlin Gallery, Portumna Castle, artist residencies and engagements in Ireland. We aim to have Community Radio Association an Artist in Every Place and to create opportunities for artists to European Partners InSitu, European network of Public Art Practice; develop interesting, new and sustainable practice in Galway and Rijeka 2020, Leeuwarden 2018, across Europe. It will work on the principle that high-quality arts Lisson Gallery, London (UK) Time 2016 three pilots projects can be based anywhere, in our towns, villages, in our city, 2017–2020 Make: open calls and on farms, in schools and that networking across borders can occur invitations via UzArts/InSitu 2018–2020 Connect: series of from anywhere in Europe. The Programme will draw on a shared residencies and exchanges cultural heritage and will have three distinct complementary and 2019–2020 Commissions incl. Then and Now April/May 2019 interconnected strands – Make, Connect, Commission. It opens Irish 2021–Major international and Galway artists up to European influences and exchanges and Symposium and Evaluation Location Throughout Galway City and will address the professional isolation that many artists here and in County incl. Athenry, Gort, Portumna, Europe experience. Over four years we will invade, occupy and inhabit Ballinasloe, Headford, Clifden, Ballygar, City locations including everyday places and spaces through cultural activity and installations woodlands and parks, factories, that will, beyond 2020, provoke Galwegians and visitors alike not only hospitals, schools – EVERY PLACE. Produced by Galway 2020 to see, but to expect to see, art and artists in every place in Galway. in association with UZ Arts, Tulca, CREATE

32 Galway 2020 / Bid Book Two MAKE – PUBLICALLY ENGAGED ARIAL SPARKS led by Louise Manifold – takes PRACTICE CURATED BY UZ ARTS, UK as its inspiration the opening of the transatlantic radio station in Clifden, Co. Galway in 1907 and Artists programmed for the project will be drawn celebrates the ship to shore work of Gugliemo from all art forms. At its centre, is the ambition to Marconi, whose mother was Irish. Louise Manifold have artists living and working in every part of our will be in residence on the Marine Institute’s community, co-creating projects with members of Galway based Celtic Explorer Research vessel, the public and making works that respond to our and on a 20 day research expedition will develop people and our communities. UZ Arts (Glasgow) the framework and brief for eight Irish and PROGRAMME FLAGSHIP will collaborate with InSitu programming projects European artists. to create a six part series of ranging from the intimate to the large scale. experimental oceanic/coastal radio broadcasts. Several projects will involve significant levels of citizen engagement. International artists drawn LONGITUDE-LATITUDE Festival of Visual Art from the InSitu network will collaborate with will explore the concept of borderless virtual Irish artists and Irish artists will also lead out on worlds through the human lens of migration, projects. A symposium in 2021 will investigate displacement and dislocated sense of place. A developments in publically engaged practice European curatorial collective of artists, designers across Europe and report upon An Artist in Every and technologists will explore the concept of Place as a key programme in developing this borderless geographies marked by culture and area of work. Galway 2020 has been invited to imagination. The Tulca festival in October 2020 join the InSitu Platform network and through in Galway will create a virtual gateway to the this programme will access the InSitu ACT, City of Rijeka in 2020 using emerging virtual co-operation programme to co-produce pan- reality mediums to remove physical borders European projects. Galway 2020 has already piloted and empower untethered imaginations. three Artist in Every Place projects with UZArts (June/July 2016) in the City (Merlin Woods – artist COMMISSIONING; SPACE, PLACE & open call) and the County (Kinvara, Oranmore). PUBLIC REALM CURATORS: VARIOUS This programme is compatible with the concept of publically engaged art that is embedded Site specific commissions, through limited calls and in the Galway Cultural Strategy 2016–2025. invitation in 2018, 2019 and 2020 that interrogate our relationship with our land and with our language CHANGING WAVES working with Galway University and the inter-connectedness of both. We are an Hospitals Arts Trust artists will make waves of Island, we are on the periphery, we are both a rural change by transforming the internal landscape and lonely landscape and a hip and young city. of hospital waiting areas and public spaces. These commissions will explore our relationship through large scale commissions that interrogate EUROPEAN LANGUAGE PASSPORT Linguists, artists and writers will create a community- our place, our identity and our language. inspired, fun and practical Language Passport THEN AND NOW Mary Cremin, Curator using the Council of Europe’s Common European Artists: Alice Maher (IE), Ursula Burke (N. Irl), Framework of References for Languages Willie O’Doherty, artist Megs Morley and (CEFR), The development of the passport with Tom Flanagan (IE), John Akromah (GH/ local communities will ask them to assess UK), Mathieu Kleyebe Abonnenc (FR). and appreciate their own language skills, find innovative and fun ways to encourage and The architecture of Galway’s colonial past is promote minority languages including Irish. prevalent throughout the countryside in its Big Houses – they loom large in the landscape CONNECT – ARTISTS TO ARTISTS and often inform how we understand our past. CURATED BY TULCA Working with leading Southern and Northern Irish, African and European artists, this commission This programme is designed to provide knowledge, will examine how colonialism continues to resources and opportunities for artists to engage shape our current condition and how it has internationally. It aims to create relationships affected our landscape and our language. and start artistic dialogue between Galway and Europe. There is a disconnection among European artists due to migration, different languages and landscapes but, through a shared cultural heritage, we aim to develop a programme of residencies, discussions and exhibitions that connect Artists to Artists across Europe.

Cultural & Artistic Content 33 HOPE IT RAINS Galway 2020, Ríonach Ní Néill, Curator

Our landscape is changing, climate change matters. Water management – both excess and absence – is a global concern.

34 Galway 2020 / Bid Book Two In Galway we experience a great deal of wet weather and frequently National Partners Marine Institute, Ryan Institute experience severe flooding in the South and East of the county. at National University of On the other hand some European neighbours have recently Ireland, Galway, Easkey Britton & Humans of the (June/July 2015) experienced severe heatwaves and drought. Sea (surfer), Barry Christie, Embassy of France, Ireland, This programme, imagined and led by an inspirational Galway Engineering Department, based artist, will invite people to collaborate and create weather- National University of Ireland, Galway, Engineering FLAGSHIP PROGRAMME FLAGSHIP proof projects that inspire wet weather activity and innovative Department, Galway Mayo design for rural and urban locations. We need to build climate Institute of Technology, Galway City Museum, 091 resilience through engaging people in planning for, and adapting Makers Labs, Design Climate to, climate change. Galway’s climate and landscape has huge European Partners Straandbeest/Theo Jansen(NL), potential for clean energy. Bad weather in Ireland contributes to Natalie Jeremiejenko(AU) our increasing levels of obesity, particularly among children, and Pierre Sauvegeot, Les Lieux Publiques, Marseilles(FR), decreasing levels of physical and communal activity, which also Anuradha Mathur & Dilip da Cunha(IN), University of adversely affect mental health. We need a different approach. Sweden, Malmo, Landscape And we need some fun doing it. In parts of the West of Ireland it Architecture Department(SE) can rain up to 225 days of the year. Using the three principles of Time 2016 playground and weather proofing pilot Exchange – Play – Change, Hope It Rains aims to effect a cultural 2017–2020: planning, design, commissioning, installations, change in our relationship with Galway’s weather, so that, by delivery and documentation

2020, Galway will be the place to come to because it rains – and Location Galway City and blows.We will connect experts in art, design, sport and science County: coastal and in-land, urban and rural (playgrounds, with citizen inventors/makers to create a multi-year programme flood defences, public events) of projects to make Galway’s people and places more weather Produced by Galway 2020 and climate resilient, building weather-proofing into the whole Galway 2020 programme. Programme strands will include:

Weather-proof Play FLOOD AND COASTAL DEFENCES RAIN PLAYGROUNDS by 2020, 40 of how can they be built in Galway Galway’s 63 playgrounds will be more with, for example, a retaining sea weatherproof and weather-interactive, wall that could manifest as a tidal by introducing at least one element organ (e.g. Croatia’s Zadar sea organ, to enable outdoor play, physical Blackpool’s High Tide Organ). activity and social interaction year- round. A pilot project is underway with Renewable Energy & Technology children in five schools in the city and WIND-FARM ORCHESTRA and county and will be presented at the GAEL-FORCE SYMPHONY a collaboration playground on Inis Oirr in early July. between designers, musicians, Men’s Sheds and the public to build wind- FAOI RÚN the creation of words that will powered melodic musical instruments, only appear in the rain – a co-project integrated into Wind Farms at Spideal/ with Small Towns, Big Ideas celebrating Moycullen, transforming the wind-farm the diverse languages of the different site into a kinetic musical sculpture. communities in Galway, including Irish. Landscape & Heritage Green Infrastructure/ TURAS CHONAMARA Water Management South Conamara’s coast-line is FROM SKY TO SOIL THROUGH SONG necklaced by tobair (holy wells), each a rain-propelled musical kinetic with its own journeys and traditions, drainpipe system harvesting water for and the natural landscape is explained a living wall/green harvest system for by mythological stories. Following the urban malls/retail warehouses thus coastal pathways of Slí Chonamara addressing the common problems of from tobar to tobar, we will reawaken the strip-malls surrounding European ancient traditions associated with Holy towns and cities by countering traffic, to reconnect us with our land and noise and air pollution, improving sea and highlight a shared cultural air quality, while reinforcing the heritage evident in Ireland and Britain, importance of water management particularly Scotland and Wales. for sustainable harvests. Cultural & Artistic Content 35 Rural Ireland was built on community, neighbourliness, family and, in many cases, the support of the church in the locality. This has all changed…

SMALL TOWNS, BIG IDEAS Galway 2020 with 20 towns, villages in Galway

Sunday morning church is no longer the meeting place where community activity and engagement is planned. Families are coping with losing their young people to emigration and new communities are moving to small towns and villages and trying to make sense of how rural Ireland works. Small Towns, Big Ideas aims to re-introduce the spirit of collective action – Meitheal, an old Irish tradition – back to our towns and villages but in a contemporary, relevant and European context. We will activate European connections in our towns and villages by celebrating European culture and will strengthen local cultural confidence through meaningful programming. We have partnered with Europa Nostra who ultimately believe that smaller communities must be supported as a significant part of our common European heritage and as a vital resource for sustainable living and development. Our small communities see the value of interconnection and are driven by the power of belonging to a place with a rich cultural heritage and a desire to share its qualities with other European communities. This multi-annual programme will respond to the Big Ideas coming out of the towns and villages and, to date, we know they will include the following projects:

36 Galway 2020 / Bid Book Two EDIBLE TOWNS AND VILLAGES – we will THE RURAL ART SYMPOSIUM in 2020 National Partners turn our towns into edible landscapes delivered by Galway Mayo Institute 20 Towns, Villages, Islands and in partnership with the European of Technology (GMIT) will focus on Communities of Galway, Galway Mayo Institute of Technology, Region of Gastronomy, Galway (2018). cultural practice in rural areas. Key Teagasc – National Agency for The project will see our communities, thinkers, critical voices and curators Rural Development, Western villages and towns transformed into will ‘reside’ along-side many of the Development Commission, edible landscapes. Vertical gardens communities and towns and will reflect European Partners Europa will emerge from the ground up, on the practice of project development Nostra/Entopia – our places community gardens, fruit trees and in rural areas. Other communities in Europe, LEADER, European PROGRAMME FLAGSHIP herbs will line the streets, schools will from across Europe will be invited to Network of Cultural Centres ENCC, Rijeka 2020 – Croatia have their own gardens and housing the Galway symposium to actively (link with ‘27 Neighbourhoods) estates will grow their own fruit and participate and share experiences. (HR), Leeuwarden 2019 (Link vegetables. A pilot project with the with City & Countryside) (NL) Capacity Building Programme town of Athenry took place in June Time 2016 pilots Galway 2020 has partnered with the 2016 where the town worked together 2017–2018 capacity building to create Ireland’s first edible town, European Network of Cultural Centres programme (ENCC) reconnecting our people to the land. (ENCC) who will deliver a programme 2019–2020 roll out of projects in citizenship, entrepreneurship, across 20 towns and villages; symposium/conference A PLACE GOES WILD will help make environmental and cultural resources 2021 evaluation and continuance the city and county of Galway into a and social economy. This training of programme under cultural place that has renewed its traditional programme, delivered in 2017/2018, strategy (city/county) connection with the land. It will be a will include the following topics: Location East, West, North and place where children learn to honour South County Galway towns ~~ Culture, civic participation all aspects of the natural world, and villages, City suburbs. through inspiration and imaginative and local empowerment. Activity will also take place connection with the land. Workshops, ~~ Culture and local economic in neighbouring counties. schools projects and residencies will development. Galway 2020 Production all explore the unique landscapes of ~~ Creative strategies for local both the West and the East of Galway resilience & sustainable county and into the City itself. development in an environmental, cultural, social context. COUNTY OF SCREENS Galway is a UNESCO City of Film but, to the general ~~ Sustaining creative skills though new visitor or indeed native, this may not educational models at local level. be obvious. The core concept of this It will involve workshops with local project is to make Galway, literally a city and European stakeholders and and county of film; to transform itself innovators from various backgrounds. into a screen (or series of screens) upon There will also be a mobility/ which film and other visual arts can be exchange prorgamme for artists and projected with the aim of disrupting cultural managers. Galway 2020 will the urban and rural visual landscape ensure that capacity to deliver is with indigenous and European film built within the towns and villages and conveyingthat Galway is, indeed, a to ensure that projects are delivered city and county of film. The screenings and delivered well. We will hold over 12 months will include a Film regular fora in 2020 and a European and Augmented Reality Trail and Film Conference on empowerment in City Spaces and Rural Spaces. and citizen led engagement.

Cultural & Artistic Content 37 WINDOW ON THE WORLD Galway 2020

The range of activities that are housed under this ambitious programme clearly illustrates Galway’s forward-thinking, innovative, experimental, edgy and risky spirit. Window on the World is a programme of experimental projects seeking to push the boundaries of emerging digital technologies and virtually immersive mediums. Building upon Galway’s ambition to become a Virtual Capital of Culture the programme will immerse citizens across the world in new artistic experiences in a bid to look at our world from radically new perspectives. The projects will see theatre makers working alongside gamers, visual artists working alongside technologists and film makers alongside social activists and hackers. This programme will explore questions relating to contemporary culture and hidden identities in a city dominated by traditional definitions of authenticity. Window of the World will recklessly break free from the shackles of perceived certainties to explore unchartered waters at the edges of European culture. Artists will reflect on the influence of digital technologies on our global notions of identity through the human lens of migration, displacement and dislocated sense of place. This collision of tradition and technology will reflect upon Ireland’s story telling heritage and folklore to push the boundaries of new forms of immersive story-telling and non-linear narratives to answer questions and challenge issues in ways never previously deemed possible. Re-imagined European traditions of monastic practice, pilgrimage and ritual will see artists, technologists and ecological innovators tackle challenges of environmental sustainability, integration and wellness.

38 Galway 2020 / Bid Book Two CUBE CONNECTED CITIES running from INTERACTION is a four year (2017–2020) National Partners Tribal February to November 2020,is a project experimental laboratory seeking City Games Pocket Anatomy, that aims to push perceived boundaries to create work at the intersection Cúram, Centre for Research in Medical Devices, The Marine and accepted limitations of both space of participatory immersive theatre, Institute, Moonfish, Mmmm and time. In partnership with MIT interactive technologies and non- Theatre, Dodo Theatre, John Media Lab and Ars Electronica, Galway linear gamified narratives. Working Rogers Theatre, Ait ait, Alive-O, will develop the world’s first network alongside partners including Guerrilla Aerial Collective, of virtually immersive, multi-user Punchdrunk, MIT Media Lab and Ars NUI Galway Drama and

Theatre Studies, Cloughjordan PROGRAMME FLAGSHIP environments across the globe. Matched Electronica, interaction will create work EcoVillage, Murrough Co-op, spaces in Galway, Linz, Tokyo, Shanghai, which explores the role of passivity Birr 2020, Access Music New York and Boston will be rendered and responsibility in 21st Century Project, FEAST, Ragairi, Citog, out on gaming engines creating linked Europe, fundamentally challenging Dirty Circus, Foroige, Puzzle, mixed reality virtual environments. the audience’s role in defining the Kinetika, Engage Art Studios, Over the Edge, Huston School People in spaces which are thousands trajectory of society’s response to of Film & Digital Media, of miles apart will be able to see, feel, issues such as forced migration, global Galway-Mayo Institute of hear, touch and interact with each warming and social inequality. The Technology, Galway Technical other in new mixed reality, virtualised laboratory will culminate in a festival Institute, Galway Film Centre worlds as if in the same physical space. of immersive, experiential productions European/International These mixed spaces will become which will involve participating Partners MIT Media Lab(USA), connected canvases for the creation audiences in both Galway and Ars Electronica(AT), Artanim Interactive(CH); Catapult, of entirely new artistic experiences, across Europe in April – May 2020. EPOCH, Bap to the Future, installations and performances. Science Gallery International; Lead Producer Galway Theatre Festival Mapping Festival(CH), Lead Producer Real Sim, Galway IN THE THICK OF IT Galway Film Unsound(PL), OFFF(ES), Future of Everything(UK), FROM HERE ON will explore and Fleadh aims to establish Galway at Us Two(UK), Sonos(UK), promote contemporary European the vanguard of Virtual Cinematic Biophilia Educational Project culture through electronic music and Storytelling by curating and showcasing (IS), Punchdrunk(UK), CREW experimental digital art. This Galway a programme of the very best in virtual (BE), Critical City Upload(IT), winter festival in November 2020 will reality cinema in July 2020. In the Platiges(PL), Doodpard(NL), commission and showcase a mix of Thick of it festival will move beyond Ontroerend Goed(BE), Komuna Warszawa(NL), The Other Way pioneering artists and experimental the physical limitations of frames and Works(UK), Lundahl & Seitl(UK), technologists who will be invited to re- screens by inviting audiences around Sundance(USA), Tallinn Black imagine ourselves and our environment Europe into fully immersive worlds of Nights(EE), Motovun(HR), through digital technologies and virtual reality narrative, documentary Edgeryders(BE), POC21(FR), differing representations of emerging and live cinematic content. The EcoLise Network(EU), The Art of Hosting Network(global digital soundscapes. The festival programme of films will provide a network), Institute Without will explore themes of an imagined wide ranging cinematic experience Boundaries(CDN), Open Care(IT), future, changing cities and the covering everything from virtual reality Possibility Management(IT), influence of digital technologies on animation and VFX heavy sci-fi to Open Source Circular our global notions of identity and intimate documentaries which immerse Economy(DE), Musion(UK), Be Another Lab(BE), place. From Here On is a city-wide audiences in the eyes, bodies, sounds Amistadelab(IT), KRETS(SE), VR takeover showing art in forgotten and experiences of others, making Lab France(FR), Transmission places; music in non-music venues every viewer their own director. Gallery(UK), York(UK), Lyon(FR), from petrol stations to bookshops and Linz(AT) UNESCO Cities of Lead Producer Galway Film Fleadh dilapidated hotels to community halls. Media Arts, Bradford(UK), Rome(IT) UNESCO Cities of Lead Producer Mary Nally Film, Cultivamos Cultura(PT) Supported by Galway 2020 with multiple producers

Cultural & Artistic Content 39 PILGRIM from the Cathedral of Clonfert to the WAVES OF ENTANGLEMENT Art and science have bee-hives of Skellig Michael Island, the West of become collaborative endeavours without borders. Ireland has for thousands of years served as a Ecological concerns are now global. Waves of monastic centre and storehouse of knowledge, entanglement will create nodes of multiple art connected to Europe by routes of pilgrimage and science residencies in Galway. Collaborations sites of learning. Pilgrim will merge this tradition between disciplines will be nurtured and will of knowledge sharing with new approaches bring together the most innovative research to technology, ecology and culture. Through by European artists and scientists in the use of monastic inspired hackathons, social innovation disruptive media, technology and science. It will be camps and cultural festivals, Pilgrim will re-trace grounded on a network of collaborations between the pathways through our shared European past different European institutions. The Project will bringing change-makers together in a trans- consist of a series of production residencies and local village. Artists, technologists and ecological exhibitions from 2017 culminating in a conference innovators from across Europe will live together and exhibition by participating artists in 2020. This in a flexible series of co-living, co-working project will create new and innovative relationships ‘Monasteries’, to tackle challenges of environmental between research and creative industries in Galway. sustainability, integration and wellness. Lead Producer/Artist(s) Cultivamos Cultura (Portugal). Lead Producer An Ait Eile Time Monastery: Jan–March Time 2017–2020. Location The Printworks, Galway City 2020; Meitheal: May–July 2020; Pilgrimage: September 2020. Location Cregg Castle, NUIG, Aras na nGael/Teach Ealla Ban FLAGSHIP PROGRAMME LEGACY

(UN)INHABITANTS using holographic projections Each of these programmes will support the career will gradually re-people the bustling streets of development of individual artists, collectives, Europe with its forgotten, overlooked and ‘missed’ cultural workers and the sustainability of persons – forced migrants, homeless, lost people. community groups in Galway city and county As Europe struggles to form a cohesive identity as in the long-term. These programmes connect a society, those at the fringes remain overlooked. strongly with the strategic objectives of the The use of holographic projections to raise these Cultural Strategy and they support sustainability, minor ghosts and non-entities in the midst of talent and creativity retention in the region as bustling European cities will force viewers to well as international exchange, collaboration confront the unknown and neglected collective and mobility. Three of the four Flagship projects mass of the past. Artists and writers from Galway were piloted in 2016. The learning from these and across Europe will research and create these has strengthened our belief that we have a figures from the distant and immediate past. strong programme structure. These programmes

Lead Producer 126 Artist Run Gallery – Lucy Elvis. are a direct outcome of the consultation and Time April–May 2020. Location Galway City, development process in Phase I and each was Sardinia, Malmo, Glasgow included in the first Bid Book. The Flagships are a clear example that our Programme Team listened VR STORY STUDIO Literary greats like Yeats and Synge have, for centuries, descended upon to what people want, how people want ECOC to Galway to be inspired by the oral story-telling impact on and for them and how they committed heritage, fairytales and folklore of Ireland. A unique they are to working with Galway 2020 to achieve collaboration between Galway’s three 3rd level shared objectives for these programmes. academic institutions and the UNESCO Network of Creative Cities (Media and Film), this project will explore the undiscovered possibilities of immersive storytelling in short form virtual reality animation, documentary and cinematic film. Multi- annual Virtual Reality Summer Schools, hosted across Galway’s three university campuses, will bring writers and directors from film, animation and gaming together to carve out the syntax and grammar of a storytelling language not yet truly understood. The programme will culminate in an exhibition of 16 pieces of commissioned works at the ‘Peripheral Visions’ virtual reality film festival.

Lead Producer Galway UNESCO City of Film. Time Summer Schools 2017, 2018, 2019, Festival 2020. Location Galway City: NUIG and GMIT campus

40 Galway 2020 / Bid Book Two LANDING LAUNCHING For this closing, event we aim to present a major city and county wide series of light AND LANDING installations that will be curated, designed and choreographed to reflect the impact and In addition to the existing highly highlights of the 2020 year and what will come regarded programme of annual festivals next. With the working title AURORA WEST, in Galway including Galway Film Fleadh, groundwork has been laid for this and Galway is the first Irish city to become a member of Galway International Arts Festival, Cúirt Lighting Urban Community International (LUCI). Festival of Literature, Clifden Community Time Friday 4th Sunday 6th December 2020 Arts Festival and Clarinbridge Oyster Location City and County Festival, we will launch 2020 with a Produced by Galway 2020 and Galway Light Brigade bang. Galway is extremely good at PROGRAMME LEGACY producing and delivering large scale Some of our WEIGH ANCHOR projects will also events and has access to expertise in be viewed as Spectacle events for example the international programming, artistic GALWAY GHOST TRAIN and GILGAMESH but we direction and the highest level of will present opening and closing events that will have a wide public, media, and tourist appeal at production and technical support. the beginning and towards the end of the year. These events will showcase Galway and will be LAUNCHING communicated to Europe and into the diaspora In remaining true to the consultation and co- via our Virtual Capital of Culture communications creation process our objective is for our leading strategy and broadcasting partnerships. It is our artists and producers to co-curate and co-create intention to make these events our showcase an opening event that will set the tone for the bookends to 2020 which will invite people in designation year. Since Ireland is one of the at the start and leave them wanting more of closest parts of the European Union to North Galway and its beautiful people, its unique America which is home to a large proportion of landscape and its diverse languages by the end. our diaspora, we feel it is important that our launch in particular reflects our relationship with the US and the bridge we, in Ireland, make into Europe.

Time 1st February 2020 (Lá Féile Bríd) Location Galway Airport Site Produced by Galway 2020

Cultural & Artistic Content 41 WEIGH ANCHOR Our Weigh Anchor projects involve a number of the established Galway based cultural organisations who will present large-scale, ambitious work that includes a strong and relevant European dimension and which, for some, will be their first journey into European partnership waters. These projects also represent the collective experience, talent and ambition of Galway cultural organisations and will inspire, entertain, engage and challenge participants and audiences across Galway, Ireland and into Europe. John Gerrard’s Mirrored Pavilions will amaze and inspire in Connemara and Santander; Druid’s Middle Island will portray heartbreak and loss in Inis Meain and the Isle of Corsica; Galway Community Circus will unsettle and restore balance in communities through Wires Crossed along with eleven European funambulist partners. These artists and organisations will show just what Galway is capable of when inspired to take on new projects, new challenges and new ways of making work for new audiences.

42 Galway 2020 / Bid Book Two WEIGH ANCHOR WEIGH

GILGAMESH National Partners Macnas young Ensemble, Galway Baroque singers, Macnas, Noeline Kavanagh (Director), Marina Carr (playwright) Athenry Music School, Youth Ballet West, Coole Music, Galway Music Macnas has been making work on the streets of Galway, in the US, Academy, Cloughanover Music School, Australia and Europe for over thirty years. For Galway 2020 the company Headford, The Jesuit Secondary will step up its ambition to its highest level yet. Gilgamesh is a theatrical School, Coláiste Na Coribe, Irish spectacle taking inspiration from a literary epic a thousand years Street Arts, Circus & Spectacle older than Homer. Gilgamesh is all of us: hero, abusive leader, beloved Network (ISACS), The Lir, National Academy of Dramatic Arts, Dublin, child, refugee, citizen. Galway City and county will be transformed, Dun Laoghaire Institute Art, Design making any site a stage, with 500 participants populating three & Technology (IADT) Dublin acts across myriad art forms. Macnas has an excellent reputation in European Partners Helen Marriage, participation and engagement and will harness the energies of many Consultant Producer, Artichoke youth ensembles in Galway while also engaging with older members (UK), Julian Crouch – designer (UK), of the community to make Gilgamesh a truly inter-generational Salt: Collective (NL), Pete Bateman project. The Connemara bog and the Aran Islands, a disused factory, Carnavasari (FR), Mikhail Karikis (GR) Norfolk and Norwich Festival (UK) suburbs, mosques, churches, mountains, boats and buses all become the stage. Macnas has 30 years’ experience of delivering critically Time 2017 Development and Planning 2018 Community casting and training acclaimed work and will partner with internationally renowned artists 2019 Participation, performance to create a 21st century theatrical phenomenon. Gilgamesh is two- development/showcase thirds God, one part human, a combination of David and Goliath. 2020 Performance in three parts The chapters read like a lexicon of the human condition; riotous, February, May, Hallowe’en/November holy and unholy, frightening, insightful, humorous and tragic. Location Galway City, County and the Aran Islands. Part I plays out the introduction of characters, re-imagining a Co-Production Macnas mythical kingdom in a contemporary city, staging a battle with and Galway 2020 mythological beasts, and closing with a love story. This all takes place within the city centre using indoor and outdoor landscapes.

Part II is a ritual wake and funeral as we follow our protagonist on his self-imposed exile though a mysterious, lonesome and beautiful rural landscape.

Part III sees our protagonist travel on his quest for Immortality to a final landscape, urban or rural.

This project will result in the creation of cultural capacity in a series of towns in County Galway. It will be one of Galway 2020’s most ambitious projects combining inherent local talent with international expertise and collaboration which will build strong international networks for street and spectacle work being made in Ireland.

Cultural & Artistic Content 43 MIDDLE ISLAND National Partners National Druid, Galway, Garry Hynes (Director), Colm Toibín (Writer), University of Ireland, Galway, Embassy of France (Ireland) Marie Mullen (Actor), Francis O’Connor (Designer) European Partners Immersione, Middle Island is a performance that starts on a pier in Rosamhíl, Co. Corsica (FR) and Corsesca Production Galway. The audience then makes the journey across to the remote (FR), Theatre Cymru, Wales (UK) landscape of Inis Meáin by boat and there they continue on a staged Time 2017 creative development progress through the island. Middle Island is based on Testament, the 2018 technical development 2019 Partner development/casting/ novella and play by Colm Toibín, which tells the story of Mary’s life training after the death of her son, Jesus. Mary’s life of exile and fear will be 2020 Performance (April and June) explored along with themes of displacement, peripherality, migration, Location Inis Meain Galway, indigenous cultures, minority languages, multilingualism and religion. Galway City, Isle of Corsica The events will be animated by professional actors (10) and by Co-production between performers (20) drawn from the local community. The line between Druid and Galway 2020 spectator and participant will be blurred as the audience journey mirrors that of countless exiles heading to strange and foreign lands, not knowing what to expect. Middle Island will incorporate a strategic process of capacity building for Irish and local Galway based artists and also will have an element of international artist exchanges. The project will be presented in one other European location with local community participation namely the Isle of Corsica. Druid is also working with Theatre Cymru Wales on minority European language research. Notwithstanding extraordinary success and acclaim on the international stage, particularly in London, New York and throughout Australia, this will be Druid’s first European collaboration in its 40 year history.

44 Galway 2020 / Bid Book Two SPIRITUS National Partners RTE Orchestras, Mark Duley, Artistic Director, Resurgam Collegiate Church of St. Nicholas Quartet and Choirs, Resurgam Choir European Partners Ceol Naofa, Sacred Music Programme, Spiritus encourages moments of openness, Festival of Sacred Music Groups participation and shared ritual throughout the City and County. At (various), Elbipolis Baroque the heart of the Spiritus project stands the Collegiate Church of St orchestra (DE), Mid Wales Opera (UK), Ensemble Organum (FR), ANCHOR WEIGH Nicholas: the ancient sanctuary at the heart of the medieval city of Cumpagnia (FR), Centru di Creazione Galway that will celebrate its 700th anniversary in 2020. A variety of Musicale Voce Corsica (FR) worshipping communities have their home in the church, in addition Time A yearlong programme to the Church of Ireland namely Russian Orthodox, Romanian of engagement in 2020 Orthodox, Mar Thoma Syrian Christians. Spiritus will celebrate this Location Kylemore Abbey, Headford diversity, by exploring the richness of inspired breath through Church, St. Nicholas’s Collegiate sacred music traditions from Europe and beyond. Three ambitious Church and site specific venues elements of the year long programme at St. Nicholas include: Co-Production: Galway 2020 RTE Concert Orchestras, A contemporary environmentally aware Noyes Fludde (Benjamin Resurgam Choir Britten) is an opera written for amateur participation that will involve diverse communities, youth groups and schools in Galway. Ceol Naofa: A festival of sacred music that welcomes Jewish, Muslim, Buddhist, Orthodox, Christian and other traditional sacred music ensembles. Resurgam Choir Ireland and Elbipolis Germany will create a residential performance partnership at St. Nicholas’ Church and Elbipolis has agreed to develop programme partnerships with other German festivals. As part of the Spiritus programme, further engagement will interweave through sacred sites throughout the county. A site specific production of Dialogues des Carmélites (Francis Poulenc) is being developed with RTÉ Orchestras, Quartet and Choirs, which will see the Galway citizens heave in mass participation as a rebellious multitude.

SRUTH NA TEANGA – FLOW OF LANGUAGE National Partners Foras na Gaeilge Branar, Marc MacLochlainn, Artistic Director European Partners Arad Goch, Wales (UK) Starcatchers, Scotland Galway’s Irish language theatre company producing work for children (UK) NIE, England (UK), Odsherred and families will create a large scale site specific immersive experience Teatre (DK), Teatre Mummpitz (DE), Ostfold (NO), Sala Baratza (ES), for audiences to encounter the elements, legends and stories of the Toa Graz (AT), Theatre Velo (FR) Gaelic Culture. The root of this project is to take the stories of the Gaelic Seachtain na Gaeilge (March); culture and reimagine them with a team of international artists, theatre Time European Language day (26/9/2020) makers, visual artists, musicians and digital artists. There will be seven Numerous locations in ‘story pods’ and each individual pod will be a unique story across the Location City and county culminating in all history of the native Gaelic Culture and minoritised languages. European seven pods being installed in Eyre partners will identify artists who will be members of a team comprising Square. Pods will subsequently tour to Irish and international artists who will work on the project in groups of European partner countries in 2021/22 three with each group collaborating on an individual story pod. Audiences Co-production Galway will travel through each pod sequentially. The project will run in March 2020 and Branar 2020 for Seachtain na Gaeilge (Irish Language Week) and will culminate later in the year with all seven pods presented in one location in Galway city around European Languages Day 26 September 2020. Following this, European touring will be developed with partner organisations. Participating artists will be mentored by leading established national and European artists to facilitate both the development of their practice and the creative development of the project. The practical legacy of this project will provide a pool of artists, technical and production teams that can create and deliver work of international standard with greatly expanded skill sets that will enrich the work they create in the future. Furthermore, management capacity will be built by applying to Creative Europe in October 2017 to support this project.

Cultural & Artistic Content 45 MIRRORED PAVILIONS – National Partners GIAF LEAF WORK (CORRIB) 2020/ European/International section.a CORN WORK (SANTANDER) 2020/ art.design.consulting gmbh, Vienna PELT WORK (CONNEMARA) 2020 (AT), Inseq Design, Vienna (AT), Thomas Dane Gallery, London Galway International Arts Festival (GIAF), Artist – (UK), Guggenheim Museum John Gerrard, Inseq Vienna, Design and Fabrication (AT), Bilbao tbc (ES), Dallas Museum of Section A, Vienna (AT) Production (Physical) Contemporary Art (TBC), Simon Preston Gallery, New York (USA) Irish artist John Gerrard works and lives between Dublin and Vienna. For Galway Time 2019 Creation and Build 2020 he will create three major new sculptures for Galway city and county and 2020 Installation in three Europe. Each work consists of a unique 100 metre pavilion covered in highly locations February – November reflective mirror, allowing the building to melt into the landscapes of the River Location River Corrib between Salmon Corrib, Galway; Connemara, Co. Galway; and Santander in Northern Spain Weir and O’Briens Bridge, Galway City respectively. Each sculpture is connected to a local power source, hydroelectric, Derrykyle/Knockadoagh, wind or sun energy. This local energy source drives an algorithmic dance Connemara, Co. Galway Vega de Pas, Cantabria, Santander (ES) performance by figures cloaked in leaves, pelts(skins) and straw, based on surviving European folk traditions. These actions occur within the mirrored Co-production Galway International Arts Festival and Galway 2020 spaces over an annual orbit which the public can witness through day or night as projections. A mirrored pavilion will stretch across the fast flowing River Corrib in the centre of Galway City. The object will function both as a home for a new art piece titled Leaf Work (Corrib) 2020 and as a functional bridge. Crucially this sculpture has 'its feet in the river' in the form of a micro hydro turbine, fixed to the base of the bridge and providing abundant electrical energy to the structure. A second mirrored pavilion titled Pelt Work (Connemara 2020) will appear as apparition upon the Galway Connemara landscape, uniting the land, sky and air into a single uncanny built form. A third pavilion will be located in Santander, entitled Corn Work (Santander) 2020 will sit on the North coast of Spain reflecting the climate and landscape of this historical region.

The intention is that the Santander Pavilion will subsequently tour to other European locations in 2021 and, partnering with the Dallas Museum of Contemporary Art (TBC) and the Simon Preston Galley in New York, GIAF would tour the two 'mobile' objects to Texas and connect them with wind and solar resources there so they can keep dancing. A major catalogue/ book on the project will be published to include installation photos of each pavilion during 2020. GIAF will produce a number of short online documentaries from inception to installation of the works. This is a project of major international impact which will become a ‘destination’ visual art experience for people from Ireland, Europe and further afield, art lovers and the general public alike. This John Gerrard installation will demonstrate the extraordinary ground-breaking work of an Irish artist who works in a truly European and International context. It will inspire and amaze in equal measure.

46 Galway 2020 / Bid Book Two MONUMENT National Partners Design & Craft Galway City Museum Council of Ireland, The Office of Public Works (National Monuments), This co-curated a new international exhibition will showcase Europe’s The Discovery Programme most impressive and beautiful prehistoric stone monuments on small European/International Partners islands. The exhibition will engage witharchaeology, architecture, craft Craft Scotland Crafts Council (UK), Arts Council Malta (MT), Centre ANCHOR WEIGH and design, film, construction, sustainability and cultural heritage. Artesanal de Menorca (ES), Consell de The exhibition will feature the huge monuments, small finds and new Mallorca (ES), National Confederation craft pieces created by maker exchanges. The project will develop of Artisans (IT), Danish Crafts & over four years through research, site visits, residencies, symposia Design Association (DK), Institut and touring. An education and maker space will accompany each National Metiers d’Art (FR), The Manx Museum, Isle of Man (UK), Cadw, iteration of the exhibition with a curated events programme. Galway Welsh Government (UK), Historic City Museum will lead out with the Western Forts of the Aran Islands Scotland (UK), Elizabeth France (IT), and engage with teams representing: the Brochs on Orkney, Shetland Ministry of Cultural Activity and and Hebrides Islands in Scotland; Ismantorp fortress on Oland Island, Tourism (IT), Centre des Monuments Sweden; the passage graves on Mon Island, Denmark; Caer y Twr Nationaux (FR), Heritage Malta (MT), Swedish National Heritage Hillfort on the Isle of Anglesey, Wales; South Barrule Hillfort on Board (SE), Danish Agency for the Isle of Man, United Kingdom; Gavrinis Island Tomb off Brittany, Culture (DK), The Orkney Museum France; the Talayots on Menora and Majorca in Spain; the Sesi on (UK), Regional Archeological Pantelleria Island off Sicily, Italy; the Ggantilja Temples on Gozo Island Museum Antonio Salinas, Palermo off Malta to develop a touring exhibition of selected monuments and (IT), Musée de Préhistoric, Carnac (FR), Atelier Francis (IT) archaeological finds. The outcome will be a commissioned documentary film and commissioned design pieces in response to archaeology Time Multi-annual 2017–2020 and monuments. There will be an online digital platform connecting Location Galway and 7 participating islands, monuments, communities and participants. Monument will county venues, touring exhibition have a curated education and outreach programme and ultimately, Co-production – Galway City a new partnership of small museums and European partners will be Museum and Galway 2020 created along with a new tourism product linking islands, monuments, centres, venues and people around Europe’s small islands.

PROMISED PARADISES National Partners RTE, Broadcasting Authority of Ireland, The Model and Mary Cremin, Curator/Producer Artists: Susan Philipsz (UK), Niland Gallery, Sligo, GMIT Letterfrack, Caoimhe Kilfeather (IE), Eva Rothschild (IE), Isabel Nolan (IE), Hazelwood House Estate, Embassy Rhona Byrne (IE), Niamh McCann (IE), Virginie Yassef (Fr) or France Ireland, Kerlin Gallery European Partners Modern Institute, Inishboffin, an island off the coast of Galway will become the site for Glasgow (UK), Tanya Bonakdar Gallery, landscape interventions, pubic sculptures and social interactions. New York (USA), Goethe Institute (DE), Invited national and international artists will create commissioned large Time April–September, 2020 scale sculptural works that dialogue with the natural landscape. The Location Inish Boffin and intention of these site-specific interventions is to explore the potential western coastline for art to become an integral part of the public space. These ‘disruptions’ Commissions: Galway 2020 will enhance the experience of the island’s inhabitants and visitors by embedding a heightened awareness of visual language and landscape. The sculptural works will trigger the imagination and inhabit the gap between perception and reality. Susan Philpsz sound works will explore themes of distance and landscape; Caoimhe Kilfeather, the vernacular and the horticultural environments; Eva Rothschild and Rhona Byrne will create works that are both playful and interactive while Isabel Nolan and Virginie Yassfe will directly respond to the landscape. Niamh McCann will work with GMIT Letterfrack to construct a pavilion, which will be the site for a series of talks, screenings and performances that will create a collective experience for the audience and the participants involved. Central to this project is its participatory nature through the process of making, collaborations, performances and interactions that allows for a more in-depth view of how we inhabit and interact with the landscape.

Cultural & Artistic Content 47 WIRES CROSSED – A BALANCING ACT FOR EUROPE National Partners NUI Galway Galway Community Circus, Ulla Hokkanen, Artistic Director European Partners Ecole de Cirque de Bruxelles (BE), Cabuwazi (DE), Sorin The River Corrib that flows through the heart of Galway city is one Sirkus (FI), Zaltimbanq (LU), Cirkus of the shortest yet fastest rivers in Europe. To Galwegians, the Corrib Cirkor (SE), Le Plus Petit Cirque du embodies the breath-taking beauty and fierce power of nature. It also, Monde (FR), Scoala de circ (RO), Belfast Community Circus (N. IRL), Mobile tragically, serves as a reminder of the fragile mental health of our young Mini Circus for Children Afghanistan, people and can be seen as a representation of our city and county’s CARAVAN – European Youth and high rates of suicide. Wires Crossed has emerged from a strong desire Social Circus Network (EU), Davor to highlight this crisis and help restore balance within our communities. Sanvinceneti – artist, Rijeka (HR) By embracing the vitality that courses through our and other European Extraordinary Bodies/Cirque Bijou (UK), Cultural Centre PiiPoo (FI) cities, this project aspires to re-infuse life, hope and courage into landscapes carrying great sadness and beauty. Wires Crossed is set to Time 2017–2019 training, skills development bring the dynamic art of funambulism (tightrope walking) to all corners of Europe through a partnership with CARAVAN, the European network 2020 June Tightrope walking festival Galway of youth and social circus schools. Languages, ethnicities and abilities intermingle and blur as people from all corners of society and Europe Location Multiple – European workshops, exchanges culminating connect on the wire. Galway Community Circus and their partners will in large festival in Galway 2020 each train up to 44 people to walk the tightrope – young people and Co-production Galway Community older people alike. Individual participants experience funambulism’s Circus and Creative Europe empowering, transformative effect and together we will cross wires Partners and Galway 2020 to foster healthier communities and a more balanced Europe – one step at a time. This inclusive and important project will culminate in a major tightrope walking and funambulism festival in Galway in 2020 where the ‘walkers’ will traverse wires cross Europe together.

48 Galway 2020 / Bid Book Two GALWAY GHOST TRAIN National Partners Angus Farquhar, Cristina Armstrong – NVA Glasgow Galway Film Centre, Galway Sports Partnership

A large scale public engagement commission to celebrate the history European Partners of the Galway/Clifden Railway which resonates in the memory of NVA, Glasgow, UK Galwegians, those who stayed and those who left. It will highlight trade Time 2019 Engagement and migration, landscape and longing. It will encourage positive attitudes & Training programme WEIGH ANCHOR WEIGH to health and well-being and be a celebration of the extraordinary 2020 4 day event (April) Documentary showing at landscape from Galway City to Connemara through which the 47 mile Galway Film Fleadh (July) railway line ran from 1895 to 1935. This route is being developed as a Location Galway City to Clifden cycle green-way. The project will be developed in three phases, led by world leading artists NVA, Glasgow who have conducted a site Galway 2020 Commission visit and project scoping exercise (April 2016). Firstly, a county-wide engagement and training process with artists, cultural producers and the public; Secondly a strategically time-lined rehearsing of participants for performances at the beginning of the line in Galway City and the end of the line in Clifden, Connemara. Thirdly, the ‘live’ performance experiences and the showing of a documentary film of the project. Animating seemingly family spaces and locations, each night hundreds of runners/cyclists in specially designed, wireless controlled LED light suits will create complex choreographed sequences interacting with signature landmarks and references taking in the cityscape and nearby coast. Linking Galway and Clifden the illuminated participants will embark along a pre-set route to create linear light patterns visible along the path networks throughout Connemara to create a stunning filmed work. It is proposed that the cycling element is the main form of transport between chosen sites where each activation takes place through runners following pre-set patterns. Performances integrate collective movement with light, sound, the landscape and changing climactic conditions. This project will offer excellent capacity building opportunity to Galway based artists, technicians, running and cycling clubs, environmental groups and others who will be afforded the opportunity to work with NVA specialists over a three phase project. It will also highlight the new cycle green way which will an important element of our tourism and outdoor activity infrastructure.

WEIGH ANCHOR LEGACY

Weigh Anchor highlights the extraordinary achievement and sustainability of our long-established arts and organisations who led cultural development in Galway. In recent times, these organisations have not only survived biting austerity in Ireland but have actually been strengthened by it. Resource sharing, collaboration and co- production is an outcome of the recession 2008–2014. This experience will now be applied to the delivery of Galway’s 2020 programme where established and resourced organisations like Druid, Galway International Arts Festival, Macnas and Branar can support and advise younger organisations who have developed projects of scale and international reach for 2020 e.g. Galway Community Circus and Galway Dance Project. The artistic quality and European relevance of the Weigh Anchor projects indicates how positively our local professional arts and cultural organisations and academic institutions have responded to the invitation to be part of a cultural process that can stimulate new ways of working, new networks and collaborations and long term cultural benefit for the city, the county and importantly for the people who live here and the people who visit or move here.

Cultural & Artistic Content 49 This is a suite of projects that reflects the emphasis we have placed on Trans-local engagement and collaboration.

50 Galway 2020 / Bid Book Two SHIP TO SHORE Ship to Shore includes projects that are designed to integrate various shared and common local practices with geographically SHIP TO SHORE TO SHIP dispersed communities within Galway, Ireland and Europe and, among the Galway diaspora who have a strong attachment to their new homes abroad and their old homes in Ireland. These projects connect people to people, communities to communities, languages to languages, food-growers to food-growers and Europeans to Europeans. As an island nation, our selection of the title Ship to Shore aims to illustrate how strongly we plan to interact and make connections within our own island of Ireland and further afield. Ship to Shore invites two-way communication and this is at the core of these projects. Galway is synonymous with movement and mobility, it is part of our DNA. We, in Galway, can do trans-local better than anyone else – we know how to connect and engage, be it through Foreign Direct Investment, international education programmes, artist exchanges, virtual communication, tourism or emigration. Ship to Shore will develop long-term, tangible trans-local connections that highlight and explore shared European themes.

PROJECT BAA BAA! – EUROPEAN COLLECTIVE National Partners Teagasc, European Region of Gastronomy, OF SHEEP FARMERS AND SHEPHERDS Made in Galway, Connemara Seamus Sheridan, Event Director, Galway European Region of Gastronomy 2018 Mountain Lamb Producers, An Bord Bia, Design & Craft Council of This festival will build on our unique heritage by inviting other communities Ireland, Sheridan’s Cheesemongers, across Europe and northern Africa – who have a similar relationship with McGee Tweed, Foxford Woollen sheep. The project will focus not just on sheep cheese and sheep wool, but Mills, Galway Tweed Project, also on sheep meat – dairy from sheep i.e. cheeses and yoghurts – which are Failte Ireland, Enterprise unique all around Europe and culturally, draw on the unique interpretation of Ireland, Aer Lingus, Avoca fabric, weaving and knitting that is found across Europe and in Northern Africa. European/International There will be myriad events and celebration of everything ovine including: Slow Food Presidia (IT) Time June 2018 and June 2020 THE SHEEP CONGRESS This will take place in 2018 & 2020. This event Location Venue, found space, will take place in Athenry at the Teagasc centre and will concentrate site specific, indoors, outdoors, on the unique cultural events that occur around ‘sheep’. Galway City & County (Congress Athenry and Aran Islands)

JUMPING JUMPERS Exhibitions of textiles – jumpers (various types Produced by the European Region of wools and knit patterns) – traditional fabrics using modern of Gastronomy and Teagasc interpretations – and also the crafts i.e. spinning – weaving – felting.

SHEEP OF MYTH & RELIGION Sheep are common symbols in both mythology and religion.This is a two day forum on the role of sheep in religion. Across many religions, sheep play an important role.

THE BAA BAA BANQUET This is a street feast with a difference, all the food will be a complete celebration of the ‘sheep’, from yogurt, to curd, to ice cream, lamb chops, lamb shank, lamb sausages, blood sausages, cheese, a complete celebration of Sheep.

SHEEP SCHOOL Schools will be invited to working sheep farms for the ‘lambing season’.

SPINNING YARNS Folklore and literature weaving thought the programme curated by poet Louis de Paor. Cultural & Artistic Content 51 AISTRIÚ: CROSSING TERRITORIES, LANGUAGES & ARTFORMS National Partners National University of Ireland, Galway, Dr. Rióna Ní Fhrighil & Dr. John Caulfield, Project Co-ordinators, Dr. Louis de Ealaín na Gaeltachta, Literature Paor (Director of Centre for Irish Studies), Dr. Seán Crosson (Huston School of Ireland, Foras na Gaeilge, IMRAM, Film 7 Digital Media & President of EFACIS), Dr. Lillis Ó Laoire (Former Head Irish Language Literary Festival of School of Languages, Literatures and Cultures), Dr. Ailbhe Ní Ghearbhuigh Arts Development Executive Connaught & County Meath, (Discipline of Irish), Ms. Marianne Ní Chinnéide (Centre for Drama, Theatre Dublin UNESCO City of Literature & Performance Studies). Ms. Susan Folan (Discipline of Translation and European Interpreting), Séamus Ó Coiléain (Discipline of Translation Studies) European Partners Federation of Associations and When Europe is faced with unprecedented immigration, twentieth century Centres of Irish Studies (EFACIS), Centre for Friisan Languages, Gaelic texts provide a vocabulary to respond to contemporary challenges. Leeuwarden 2018 (NL), Celtic Working with the European Federation of Irish Studies (EFACIS), translation of Neighbours Wales (UK), Centre extracts from 25 Gaelic texts documenting aspects of migration in Irish and Culturel Irlandais Paris (FR) European contexts, will be published in an edited anthology, A dedicated, Time National University interactive website will encourage open-source translation and will disseminate of Ireland, Galway the project content. In collaboration with Foras na Gaeilge and ‘Other Words’ Location April 2019–April 2020 network, NUI Galway will host a minority-language writer during their Producer: National University residency (8 weeks). The writer will work on subjects relevant to lesser-used of Ireland, Galway languages. The resulting text will be translated by ‘Other Words’ partners. In collaboration with Centre for Drama, IMRAM, Ealaíon na Gaeltachta and its European partners, community based artist(s) from Europe will be invited to collaborate with artists-in-residence in the Centre for Irish Studies to respond to Gaelic texts, Performances will be workshopped in Galway during 2020.

BUA TEANGACHA – National Partners NUIG, Ealaín na Gaeltachta, An Taibhdhearc THE GIFT OF TONGUES Galway 2020, Ealaín na Gaeltachta European/International Euskaltzaleen Topagunea (Basque Galway and the West of Ireland are home to the largest community of Irish Country) (ES), Celtic Neighbours Wales (UK), TxalapART (Basque speakers so language is an integral part of daily life. Increased multilingualism country) (ES), Afuk, Leeuwarden (NL) needs are of significant cultural, civic and social value to Galway and Europe. Time 2017–2019 Artist exchanges, We will continue the momentum and knowledge of Donostia 2016 and LWD18’s residencies, workshops, symposia partnerships in Tosta, Other Words and Home of Languages promoting awareness 2020 Festival and Language of minority languages and multilingualism. We will harnessed this energy to tour summer co-create a carnival of language which will travel through traditional Gaeltacht Location Rural Galway, regional and non-Gaeltacht areas. Artists, writers, musicians, singers, composers, – Mayo, Donegal Gaeltacht storytellers, dancers, theatre-makers, historians, linguists of minority languages Co-Production: Galway 2020, and general lovers of language and words will be invited to share in the Ealaín na Gaeltachta work. The programme will have artist exchange, interdisciplinary workshops, residency programmes, symposia and conferences and, ultimately, a festival of expression which brings language on a tour of the West of Ireland.

SEA TAMAGOTCHI National Partner TG4 Manchán Magan, Curator/ Writer, Tom de Paor, European Partners Marilar Aleixandre, University of Santiago Film maker, Johnny O’Reilly, Producer de Compostela (ES), Susana Sea Tamagotchi is a linguistic art project seeking out and celebrating endangered Sánchez Arins, Galicia (ES), Edorta Jimenez, BasqueCountry (ES), maritime words and place names in the coastal regions of Galway, Galicia, Sissel Mutale Bergh, Sámi Territory the Basque Country and the Sámi Territories. Manchán Magan roams the (NO), Rávnná Horndal, Lule sea-roads of each region on a specially-built pedal-powered word collector Sámi Center, Drag (NO), Thomas and redistributor in the company of a local artist/writer immersed in the old Seppola, Samovarteateret (NO). sea customs and language. Together they explore the social knowledge Time May–August 2020 and traditions contained in words associated with fishing, sea trade and Location Basque Country (Galicia), maritime culture. The words are then distributed at public gatherings in which Galway and Norway/Sweden to communities agree to take on custody of a forgotten or endangered linguistic coincide with local events and key. They keep them alive by gathering with the custodians of other words at summer art/marine festivals. festivals, performances and online, with the support of a website and art or Produced by Manchán Magan in performances linking the words with the location from whence they came. association with Galway 2020

52 Galway 2020 / Bid Book Two CELLISSIMO National Partners RTÉ Orchestras, Quartets and Choirs Music for Galway European Partners Zagreb Cellissimo is a new 10-day Festival that will immerse European music making Players (HR), Cello Biennale within the horizon lines and landscapes of Galway. The cello is the conduit by Amsterdam (NL), Universal Music (UK), Yellow Lounge (UK) which we propose to connect to Europe and disrupt perceptions of its musical SHORE TO SHIP influence. Kuros Torkzadeh, a local Galway county luthier will design and craft a Time April 2020 cello from local bog oak and sheep gut strings placing the cello within our own Location Aula Maxima NUIG, vernacular. The sound of the Connemara landscape will resonate when played Leisureland, Bailey Allen Hall NUIG, Aras Eanna, Inis Oirr, Station House by our European, as well as national musicians. Cellissimo will collaborate with Theatre Clifden, Model Niland, Sligo and commission Irish and European ensembles, soloists and traditional music Co-production Music for groups. Zagreb Soloists, Croatia, will participate as a featured resident ensemble Galway and Galway 2020 as well as invited international soloists. We will connect these artists to the next wave of emerging cellists through international masterclasses and collaborative ensemble performances. Cellissimo will reach out to new younger audiences by meshing and challenging perceptions of classical performance through the European phenomenon (Berlin and London) of Classical music ‘Clubbing’.

SONGS FROM AN OPEN ROAD European Partners Embassies and Cultural institutes will be Joe Boyd Curator, South Galway Folk Song Society, Producers approached to support the project Songs from an Open Road is a four day and night celebration of nomadic music, Time 4 day celebration focussing on the trans-national relationship between music, migration, movement. early October 2020 The songs of global wanderers will be retold within the music of the Irish Traveller, Location Galway City and County Roma, English, and Sami, North African and the Middle East traditions. Songs of the venues including Town Hall Theatre, Black Box, Róisín Dubh, Campbells Open road will also look to the Atlantic and the long road west taken by our own Tavern, Station House Hotel people to America, where it influenced both bluegrass and folk troubadours like Produced by South Galway Folk Woody Guthrie and Bob Dylan. A vital element of Songs of an Open Road is the Society Workshops; Masterclasses oral dissemination and passing on of melodies between participants, and young supported by Galway 2020 musicians in featured talks and workshops. A series of bespoke masterclasses and workshops will be developed and delivered by participating musicians in diverse cultural contexts and communities in the city and county. This resonates with the hub network that is being developed as part of the Cultural Strategy. Songs from an Open Road has the potential to become a biennial event in Galway each October The concert programme for this project will be a commercial activity.

GOVERN DANCE – THE NEW WAVE (NOUVELLE VAGUE) National Partners Lead -Dance Ireland with Dance Limerick, Galway Dance Project CoisCéim Dance Theatre, Liz Roche Dance Company Govern Dance is a bold interrogation of the difficulties in sustaining artistic companies of scale within financial climates. By closely aligning academia, European Partners Gabriela Tudor Foundation Bucharest design and arts worlds in a deep, practical research inquiry, it will show how (RO), University of Bedfordshire public resources can be utilised to minimise administration, workloads and Department of Music and Dance overheads and foster a new wave of sustainable artistic production. This Creative (UK), Bucharest 2021 (RO) Human Europe project will dedicate the first project year to building of methodologies to Organising Project, London (UK) harness collaboration and resource sharing in new governance models. Dance Time 2017 Methodology communities will re-imagine funding structures, control and management of development space, drawing inspiration from network based models and contemporary 2018–2019 Research inquiry, collaborations, action research, open sharing practices. A pan-European touring network will develop a model development programme of co-productions through mentorship activities, professional 2020 Performances and reports development labs, residencies and camps, turning their work into a sandbox Festival of dance in Galway for experimentation and artistic play. The 2020 NuDance Festival platform 2021 Evaluation and new structures and conference is where performances will be brought together and the Location Pan European outcomes and blueprints handed over for the ultimate benefit of the broader Supported by Galway 2020 public, making Galway the centre of vibrant dance landscape innovation.

Cultural & Artistic Content 53 KITCHEN ISLAND DANCES National Partners Galway City and County Councils, Galway Galway 2020/ Galway Dance Project Dance Artist in Residence, Dance Kitchen Island Dances will connect dancers and foodies with bodies of older Ireland, Dance Limerick, Dance Theatre of Ireland, Coisceim people across Galway’s urban, rural and island locations to counter feelings Broadreach, Lightmoves Festival of loneliness and social isolation and what it means to be old and alone. By of Screendance, Bealtaine enhancing the encounters experienced through the existing Meals on Wheels Festival/Age & Opportunity service, dancers and food makers will migrate from home to home to visit European Partners elderly people living alone, echoing the Celtic tradition of the ‘Brídeog’. Training Pavilion Dance SouthWest (UK), will be provided to develop the skills of participating dancers, artists and Dance Resource Agency (UK), gastronimiques to engage with older people in their own personal environments City Moves, Aberdeen, Scotland (UK) and facilitate a process of connection and communication. Participants will gather Time 2017 & 2018 Capacity to create a final screen-dance work for Imbolg (Spring) 2020 that will then be building & inspirational workshops & labs premiered as part of the Bealtaine Festival in Galway (May). The created screen- 2019 stories gathered from dance work will also be shown as part of Light Moves festival of screendance, communities of older people Limerick, Joie De Vivre Film Festival, Bournemouth, UK, Cinedans (NL). will emerge as screen-dance short films, audio archives and photographic collages 2020 Bealtaine Festival

Location Galway City and County, UK, Netherlands

Co-production with Galway Dance Project

TAKE MY SEAT National Partners Dublin City Council, Galway Migrant Service, Galway 2020/Dublin City Council, Sonya Kelly, Actor/writer, Glaway County Intercultural Forum, Ruarí McKiernan, Youth & Community Campaigner AMACH LGBT Galway, Galway Age Friendly Programme, Youth The Galway owned GoBus makes at least 17 trips from Galway to Dublin city Work Ireland, Foroige, Go Bus and airport each day. It is a busy, affordable service with people from many European Partners n/a backgrounds taking the bus for countless reasons. Take My Seat will explore Time 2017–19 Recruitment, who these passengers are. Take My Seat will identify 104 passengers of varying Interviews and recording 200 backgrounds and ages, from different countries and communities and invite them passengers to participate in a 30 minute interview with specialist artists. Why do they take 2020 Audio stories available for the GoBus? When did they make their first journey? Where do they come from? passengers on GoBuses Where are the going? Take My Seat will create an audio environment where GoBus 2021 Stories available online and as downloadable podcasts users can share their thoughts on travelling between Galway and Dublin, coming and going, thus capturing the stories of people who rarely are asked to tell them. Location Galway – Dublin City Centre – Dublin Airport (return) These stories will be available to listen to on the Go-Bus throughout 2020 and thereafter available as downloadable podcasts via our Virtual Capital of Culture. Co-production between Galway 2020 and Dublin City Council

54 Galway 2020 / Bid Book Two TRIBES – PRIDE OF THE PARISH National Partners Galway GAA County Board (local Galway 2020, Jen Coppinger, Producer, Emma Martin, Choreographer clubs and communities) Using traditional Irish set dancing as a jumping off point and referencing European Partners n/a the Maoiri Haka, Tribes – the Pride of the Parish will invite Galway Gaelic Time 2017–2019 Promotion,

Athletic Association(GAA) teams (10–12 year olds) to create a heroic dance demonstration, training SHORE TO SHIP that is individual to their parish and its landscape. A movement vocabulary and choreography illustrating the landscape of the county e.g. mountains, rivers, trees, sea, stone 2020 All Tribes Day and lake will be choreographed. Each club will choose the movements that May–September 2020 reflect their area – coastal clubs use sea and stone in their dance; in-land Location Galway City and County clubs may want use river, mountain and trees. Tribes will engage with boys Co-Production Galway 2020 and and girls to create a two-minute heroic dance that they will perform at the Galway GAA County Board beginning of each match. Beginning in 2017, Tribes will spread throughout the 150 girls and boys teams playing our national games, camagoie, hurling football and handball in the county creating legacy for each club. The objective is to create a new dance/sporting tradition in Galway. Tribes will culminate in Tribes Day at each of the four (GAA) Connacht finals in 2020.

National Partners Arts CROSSING THE LINES & Disability Ireland Blue Teapot Theatre Company, Petal Pilley, Artistic Director European Partners Moomsteatern, This Creative Europe project, led by Moonstearern (SE), will create Inter-connected Malmo (SE), Mind the Gap, Bradford (UK) Les Oiseaux Mouches, performances through a series of collaborative interventions leading to a festival Roubaix, (FR), HiJinx Festival, of theatre for artists with intellectual disability in Galway in 2020. The programme Cardiff, Wales (UK), Naujasis will include main-stream training opportunities for actors currently working Teatras (ES), Rotterdamscentrum/ solely in special training programmes for artists with intellectual disability. The Theatre Maatwerk, (NL) project will comprise academic research, training and residencies, production, Time Creative Europe: festival and audience development and networking programmes. It will allow Multi-year 2017–2020 Galway’s Blue Teapot theatre company to work within a context and partnership Production & Festival in which is not currently available to them in Ireland. It will support high level Galway, September 2020 capacity building and will heighten awareness of professional theatre by people Location Galway City, with intellectual disability. Blue Teapot will be a full partner but with a lower Malmo, Bradford, Roubaix, financial commitment than their more established and resourced partners. Cardiff, Rotterdam Supported by Galway 2020

EYE ON THE EDGE National Partners National Youth Council of Ireland, NUIG Students' Union and European Youth Forum Foroige, Youth Work Ireland, EYE (European Youth Event) is a biannual European Youth conference where NUI Galway Students’ Union young people, policy makers and politicians from all over Europe descend on the European Partners EYE Unit European Parliament to debate and devise solutions to the shared challenges of European Parliament and European Youth Forum (EU) facing Europe and its future generations. In 2020 Galway will collaborate with the EYE in Strasbourg, the largest event of its kind in Europe, to host EYE on Time May 2020 the EDGE, a parallel or fringe conference off-site (May). EYE on the EDGE will Location NUIG campus Galway City be a demonstration of the centre and the edge of Europe working together Produced by NUIG through a shared conference programme and involving live streams of key Students' Union speakers and presentations. The Galway conference will host participants from Rijeka and throughout Europe through collaboration with our local and national youth agencies. EYE on the EDGE will incorporate the first iteration of Live Feed showcasing some of Galway’s best young musicians, performers and artists.

Cultural & Artistic Content 55 LIVE FEED National Partners Youth Work Ireland (Irish Youth Music Awards), Tracy Bruen (Musician and Project Manager) Foroige, National Youth Council of Live Feed is a direct response to the need to provide spaces for our young Ireland, Galway Youth Arts Alliance, Sober Sessions, Dance Free musicians to play live concerts and also to provide regular opportunities for our wider youth population to socialise in safe and alcohol and drug free European Partners European Youth Forum (EU) environments. This project will support the burgeoning youth music scene in Galway city and county and we will link it with ‘Classical Clubbing’ aspect Time 2017–2019 Four events per year, one in city; three in of our project, Cellissimo. Using alternative venues and outdoor there will county including Portumna, be a clear focus on capacity building within the programme with workshops Loughrea, Kinvara, Gort, Tuam, on live performance, masterclasses, recording and production, budgeting, Oughterard, Ballinsloe promotion and networking. The project will cater to all musical genres and 2020 Live Feed festival to will support the participation of young musicians and audiences from all coincide with Eye on the Edge communities and will culminate in the establishment of a new annual Youth Location Galway city and county Cultural Festival in Galway. The first iteration of this new festival will be delivered Supported by Galway 2020 in partnership with YO!FEST which will be hosted in Galway in 2020.

NORTHERN PERIPHERIES – TALENT CAMPUS National Partners FilmBase, Screen Training Ireland, Irish Film Board Galway Film Centre/UNESCO City of Film European/International Partners Twelve producers, directors and editors under 30 come together annually for Documentary Department, a three week talent campus collaborating on four short documentaries. They National Film School of Denmark (DK), Aarhus Film Workshop (DK), will participate in a series of lectures and workshops hosted by academics, Copenhagen Film Workshop (DK), experts and communities on aspects of life specific to the region such as rural Odense Film Workshop (DK), Open depopulation and isolation, language diversity and multilingualism, sustainable Workshop Viborg (DK), Media rural economies. The participants will pitch ideas to each other and form Factory Akershus (NO), Tvibit Youth teams to make the four short films (5–10mins in duration). Throughout the Film Centre (NO), Filmcloud, Kultur I Vast Goteborg (SE), Film I Skane, production process, participants will be mentored by experienced documentary Filmbasen Stockholm (SE), Film producers and film-makers. The Talent Campus will be reviewed after each Workshop Kiel (DE), Klippfisk (Faroe three week session learning from participants’ experiences. The location of the Islands), Ciclic Animation Vendome Campus will move each year between the eight participating countries. The (FR), Nerve Centre Derry (N Irl) main emphasis is to create new European creative producers, stimulate co- Time 2017–2020 production, collaborative projects and co-financing models and form a new (2020 October in Galway) network, the Emerging Producers International Co-production Network (EPIC) Location Galway in 2016; with an annual event, the Emerging Producers Forum commencing in 2020. Norway 2017; 2018/2019 tbc and 2020 Galway

Supported by Galway 2020

PERIPHERAL VISION National Partners Irish Film Board (Ireland) Galway Film Fleadh European/International Partners Through the creation of a network of independent European film festivals ACE – Ateliers du Cinema Europeén and film organisations, Galway Film Fleadh will promote, stimulate and (FR), EAVE – European Audiovisual Entrepreneurs (BE), Eurimages, encourage the distribution and exhibition of European cinema across borders. Council of Europe (EU), Tallinn These strands will be co-curated by the festival programmers for inclusion Black Nights (EE), Motovun (HR), in each festival’s programme. It will specifically highlight work from new and Sundance Film Festival (USA) emerging film-makers, 1st and 2nd feature films, films which interrogate Time 2017–2020 the notion of representation in indigenous cinema from across Europe, Location Galway and in film examine rural and regional film-making voices, gender diversity but also to festivals across the network ultimately demonstrate the breathe and diversity of European film-making. Producer Galway Film Fleadh

56 Galway 2020 / Bid Book Two VOYAGE IN TRANSLATION National Partners The Library Association, Literature Ireland, Galway City and County Library Dublin UNESCO City of Literature Libraries are the places most frequented by migrants to new communities, European Partners Centre people who are living in Direct Provision, people studying English as a foreign Culturel Irlandais, Paris (FR) language and local people, particularly elderly people, who value their local Time 2019 Sept–Dec SHORE TO SHIP libraries. This project will encourage readers to embark on a voyage to read 12 2020 Jan–Dec European novels in translation from 12 different countries in 2020. We will seek Location Libraries across out people from the 12 selected countries, now residing in Ireland, to work with us Galway city and county to choose the 12 novels that best represent their country and the library service Co-production with Galway will make them available throughout the city and county both in the original City and County Libraries language and in English. We will target book clubs to read and discuss these novels which we expect will help communities to understand better their migrant neighbours. This project will celebrate multiculturalism and create exchange beyond national borders and encourage greater use of libraries in all communities.

WEST WORDS National Partners Poetry Ireland, The Stinging Fly, Literature Ireland, Poetry Ireland and the Stinging Fly Dublin UNESCO City of Literature Galway 2020 will work in partnership with Ireland’s leaders in poetry and short story European Partners Berlin Poetry writing – Poetry Ireland and the Stinging Fly – on publishing anthologies of Galway Festival (DE), Internationales Literaturfestival Berlin (DE) writers’ work in 2020. These publications will be edited by Galway based writers Scottish Poetry Library,(UK) Centre and will include work from writers based in Galway, writers who were born and no Culturel Irlandais, Paris (FR), longer live in Galway and international writers who have been hugely influenced Southbank London( UK), Crossing by the landscape of Galway. Galway 2020 will work with international literature Border Festival The Hague (NL) festivals to create a stand-alone event combining writers from both anthologies as Time Competition, publications, Galway on Tour. In late 2018, to acknowledge our shared love of storytelling across tour March–October 2020 Europe, work will begin on a European Wide Short Story Competition which will Location Galway City and be managed by the Stinging Fly. Entries will open in 2019 and the shortlist will be Galway writer diaspora in judged by a panel of European writers with the winner announced in early 2020. European and global locations Co-production with the Stinging Fly and Poetry Ireland

SHIP TO SHORE LEGACY

This suite of translocate projects shows our commitment and our ability to engage in activities that are of European relevance but resonate within a Galway context. They highlight shared and common local practices with geographically dispersed communities both within Galway, Ireland and Europe. They reach out to the Irish diaspora through language, story-telling, celebration of our landscape and recognition of the shared experiences of migration. The projects are diverse and cross many disciplines from film to dance and food to language. They invite locals and those who have recently moved to Galway city and the county towns and villages from Europe, Africa and the Middle East to embrace the opportunity to be participants, makers, ideas originators and audiences. They illustrate that we can be one people who can collaborate, share our cultural heritages and build a Galway that recognises the potential for integration, acceptance and tolerance while also generating a great deal of enjoyment, collective action and achievement. Furthermore, they invite artists to think about new ways of working and creating sustainable careers. They highlight the importance of trans-local engagement where we can share experiences and impacts.

Cultural & Artistic Content 57 FORWARD MOTION Forward Motion is the description applied to our Education and Engagement projects with children and teenagers at primary and secondary level and with students at third level. We have designed projects that will build a cultural intelligence and creativity in both the next wave of artists and makers and the wave after that (who will still be in school in 2020). Our commitment to the next wave is evident throughout the programme but we have designed and collaborated on bespoke projects that have the capacity to impact not only on the lives of participating children and teenagers, but on education policy itself. Galway 2020’s relationship with both the National University of Ireland, Galway and Galway Mayo Institute of Technology is very strong and both institutions have created a number of projects within their own educational contexts that will merge and support the work of Galway 2020. We have acknowledged the need for ‘progression’ through our education and engagement projects, as ECOC is a multi-annual, legacy initiative and not a one year festival of events.

HY BRASIL National Partners Poetry Ireland Writers: Patricia Forde (writer), Padraic Boran (producer), Alan Nolan, Eileen Gibbons, Tom Conroy (design), Poetry Ireland, curriculum design Oisin McGann, Corrib Navigational Trust, Children’s Books Ireland Hy Brasil is a mythical island seen off the west coast of Ireland every seven years. In 2020 the children of Galway will imagine it into being. The European Partners Gerda Dendooven – writer, playwright, worlds’ of childhood and early adolescence are the natural realm of the teacher Ghent (BE), Heather imagination. This child-centred project will harness that imagination to Ackroyd & Dan Harvey (UK), Sheena create something beautiful and mysterious but also to discuss questions Wilkinson (NI), Teatergruppen of importance to the European community today – questions around Batida, Copenhagen, (DK) philosophy, governance, social inclusion and justice; questions about Time our environment and our legacy; questions about art and culture. The Sept 2017–June 2019 Education project will portray a community abandoned and forgotten and ask how programme May 2020 the island will be that could happen and if it could ever happen again. The people leading launched in the manifestation this project are storytellers, writers and artists. They use their creativity designed by the children. to build worlds to present to their fellow human beings. That creativity Location lives in every child, and we intend that this project will act as stimulus to 25 schools though-out Galway ignite each and every imagination working on Hy Brasil both young and city and county Installation not so young. This is a project about education and how people learn. location to be decided This project will show the power of teaching through the arts. It aims to Co-production with Galway 2020 develop critical thinking in its paticipants (11/13 year olds) asking them to question how we live, what our values are and the consequence of each and every decision we take. The education phase has been developed and planned in partnership with Poetry Ireland and a pilot school’s workshop was conducted in March 2016. The final manifestation of Hy Brasil will be determined by the children that imagine it into being. We are not second-guessing what the children will imagine. It may be a virtual manifestation created and accessed on line, a publication, an animation or it could be a spectacular installation located in the Claddagh Basin in central Galway which will then be shown in centres throughout Galway where the children who created it live and learn.

58 Galway 2020 / Bid Book Two SYM-PHONIC WAVES National Partners Galway Music Education Partnership; (Music Matters, Maoin St Patrick’s Brass Band, Esker Festival Cheoil na Gaillimhe, Coole Music & Arts, Athenry School of Orchestra, Irish Association of Youth Orchestras, Irish Chamber Music, Galway Youth Orchestra, Galway Technology Institute, Orchestra, Irish Youth Wind Headford Music Works, Galway Roscommon Education Training Ensemble, Galway Music Residency, Board, Ealion Na Gaeltachta, Galway City and County Councils) National Symphony Orchestra FORWARD MOTION FORWARD This collaborative project will create a sustainable music education European Partners Junges Streichorchester, Weilim legacy for young people in Galway by developing a new Western Schönbuch (DE), Helsinki Strings Symphonic Youth Orchestra (WSYO). It will link with three established (FI), National Youth Orchestra youth orchestras in Germany, Finland and Scotland and a professional of Scotland (NYOS) (UK) orchestra in Ireland, up-skilling music teachers through an on- Time line continuing professional development programme, hosting an Multi-annual 2016–2020 international competition for new works and culminating in a series Location of large-scale performances and recordings by WSYO together with New Inn, Tuam, Galway City, European partner orchestras and choirs. The development of this Athenry, Gort and Spiddal. project is evidence of the power of collective imagination and drive Training in Helsinki and London and illustrates the impact of resource and intelligence sharing to build capacity and opportunity for the next wave of musicians in Galway.

THE IMMERSIVE CLASSROOM National Partners TULCA Festival of Visual Art, Galway NUIG – School of Education, Dr. Veronica McCauley and Education Centre, Insight Centre for Dr. Kevin Davison, Lead Artist, Denise Mc Donagh, Educators, Data, Ireland, Coder Dojo Galway

Martin McHugh, Michael McNamara, Brendan Smith, Karl Sweeny European Partners CREW (BE), Matera 2019 The European Commission has recognised that digital literacy is a (IT), Rijeka 2020 (HR) prerequisite for creativity and innovation and the Irish Department of Education and Skills have developed a Digital Strategy for Schools Time 2017–2020 2015–2020 to develop an embedded digital literacy programme within the school curriculum. Information and communication technology is Location Galway City and County, Matera, Italy increasing at an exponential rate and how we interact with the world around us is constantly being redefined. This project will develop bespoke Co-production NUIG School of Education and Galway 2020 micro-curricular digital and artistic programmes to target increased digital literacy in schools using immersive technologies. Interaction is the key to any digital experience and the goal is to augment students’ engagement with digital technology throughout Ireland and Europe. Students will cultivate a host of sustainable digital skills where they will design and create culturally significant immersive experiences inspired by their lives, language and landscape. Training courses will be developed for teachers working in classrooms and, through an online environment with students, the project will develop and integrate immersive technologies into teaching and learning activities. The project will culminate in 2020 with an International Immersive worlds Exhibition and symposium.

Cultural & Artistic Content 59 NATIONAL UNIVERSITY OF GALWAY-MAYO INSTITUTE IRELAND, GALWAY (NUIG) OF TECHNOLOGY (GMIT)

NUIG will combine the expertise and wisdom of GMIT will look at further education in Creative its scholars and students to explore the question Practice to provide flexibility for people to work of how NUIG can act as a model of sustainability and study and develop their own creative pathway. for Ireland and for Europe. The University will Integrating modules in research and innovation, consider new thinking which can boost the design, professional practice and themes and sustainability of culture, landscape, language, issues into practice-based research projects career pathways and the sustainability of the will be carried out both within the campus or European University itself. The University will remotely. GMIT are also partners in a number establish a MedTech Science Lab for Children and of our cultural projects for 2020 including THEN complete a major project making spaces available AND NOW p33, RURAL ARTS SYMPOSIUM p37, for Galway and visiting artists (see also 6.10.4). NORTHERN PERIPHERY – TALENT CAMPUS p56.

THE SUSTAINABLE CITY – what would happen if everyone in a university – all of its staff, students FORWARD MOTION LEGACY and visitors – asked the same question at the We have deliberately invested a great deal of same time? For 2020, will bring together its 17,000 time in developing three specific projects that strong community to explore the question of speak to children and young people’s creativity how NUIG can act as a model of sustainability and imagination. SYM-PHONIC WAVES p59 (music), for Ireland and for Europe. Between 2017–2021, HY BRASIL p58 (democracy, politics, writing, the University will host a significant programme design,) and the IMMERSIVE CLASSROOM p59 of conferences, outreach projects in the city (code/scratch) each offer children in primary and and county and engage in over 30 European secondary schools in Galway new opportunity research projects. Projects and festivals include: to engage with culture. These three projects will ~~ Galway Now/Present History explores the have a long term and positive cultural impact question of identity ‘who am I? who are we on the children who participate, and on their together?’ using applied theatre techniques on families. We want to make waves in this area to students from primary to 3rd level education. build a new generation of culturally conscious young people who will comprise our next ~~ Science & Technology Festsival highlighting the wave of creators and artists and give them an University’s many European research projects. international outlook. Similarly we have established ~~ Sustainable Careers in the Arts – a pilot excellent creative working relationships with project with a special focus on playwriting the third level institutions in Galway, NUIG and using the University’s partnerships GMIT who will, in time, receive many of those with the Abbey Theatre and Druid. young people who travel through our primary and secondary schools in the lead up to 2020 In addition NUIG is working with Galway 2020 on experiencing cultural interventions as they go. THE IMMERSIVE CLASSROOM p59, AISTRIÚ p52 and VR STORY STUDIO p40 NUI Galway is a member of numerous European networks, including the European University Association and the Coimbra Groups. It has formal links with 78 Universities across Europe from Uppsala to Augsburg, Cadiz to Manchester.

60 Galway 2020 / Bid Book Two Cultural & Artistic Content 61 PROJECTS UNDER DEVELOPMENT We worked on 90 credible projects in Phase II some of which we continue to work on at time of going to print. These projects meet most of the criteria but in some cases required further budget interrogation, partnership development of confirmation of participating artists. Here we present a sample of projects on which we continue to work post print deadline and which will be allocated to the programme budget of 30% that remains for post designation development.

CROSSTOWN TRAFFIC THE MIGHTY OCEAN Dublin City Council/Galway 2020: this Producer Ollie Jennings/musican and composer project continues the development of our Máirtín O’Connor. A summer concert series relationship with Dublin City Arts Office and celebrating traditional music and boating presented will focus on the twinning of communities and in five different locations around Galway Bay over neighbourhoods in Galway and Dublin. five weekends in summer 2020. Led by acclaimed traditional accordion player, Máirtín O’Connor ONCE UPON A TIME working with established and young musicians Baboró Children’s Festival is preparing a major from Ireland, UK, Galicia, Brittany and Crete. new European fairy tale project which will be presented at Ireland’s leading children’s ENDA WALSH FOCUS festival in Galway in mid-October 2020. 2020 will see the world premiere of a new opera, a new play, an examination of Enda Walsh’s SUGÁN – FROM INIS ÓIRR TO ISTANBUL previous canon of work, and a series of shorter Led by artist, Allanah Robbins will create a súgán texts presented in in site-specific installations (straw rope) in digital, verbal and visual formats. A throughout Co. Galway. This significant project story starts on the Aran Islands and is replayed and is produced by Landmark Productions (Dublin) retold, again and again, travelling across Ireland and Galway International Arts Festival who and Europe finally reaching Istanbul and engaging have previously presented Walsh’s work in with artists along the way. Allanah is working with Europe and North America and who will build artists in Sweden, Germany, France and Turkey. a platform in 2021 and beyond for this ECOC inspired project to travel internationally.

62 Galway 2020 / Bid Book Two NATIONAL CULTURAL PARTNERSHIPS NATIONAL PROJECT PARTNERS

Galway 2020 has worked extremely hard to ~~ Access Cinema – COUNTY OF SCREENS p37 establish partnerships with national cultural ~~ An Bórd Bia – PROJECT BAA BAA! p51 organisations given that this is a national designation for Ireland. We have been very ~~ CREATE – AN ARTIST IN EVERY PLACE p32 successful in this work. Leading national ~~ Dance Ireland – GOVERN DANCE p53 organisations have entered into project ~~ Design and Craft Council – MONUMENT p46, partnerships with Galway 2020 and The Abbey PROJECT BAA BAA! p51 Theatre and RTE Orchestras, Quartet and Choirs will work with us on a series of initiatives ~~ Irish Association of Youth Orchestras – which will be of long term mutual benefit to SYM-PHONIC WAVES p59 both of us but critically, of enormous value ~~ Irish Film Board and Screen Training Ireland – to participating artists and audiences. NORTHERN PERIPHERIES – TALENT CAMPUS p56

The Abbey Theatre ~~ Irish Theatre Institute – self producing Galway 2020 has entered in an MOU artist training/capacity building with the National Theatre of Ireland, The ~~ National Chamber Orchestra – Abbey and Peacock Theatres on the SYM-PHONIC WAVES p59 following areas of shared interest: ~~ Poetry Ireland – Annual publication ~~ The commissioning and production of new Irish 2020, HY BRASIL p58 language plays drawing on the expertise and of ~~ Visual Arts Ireland – AN ARTIST theatre artists and makers in the Galway region. IN EVERY PLACE p32 ~~ The revival of touring by the National ~~ Dublin City Arts Office – TAKE MY SEAT p54 Theatre to rural towns and villages where and PROJECTS IN DEVELOPMENT p62 no physical theatre infrastructure exists. ~~ Dublin UNESCO City of Literature – ~~ The development of a project with Galway VOYAGE IN TRANSLATION p57, International Arts Festival entitled Refuge WEST WORDS p57, AISTRIÚ p52 exploring memory, loss, people and place. Working directly with the migrant communities Galway 2020’s cultural programme has been in Galway, elsewhere in Ireland and Europe, and structured in such a way that it complements the working with European Council of Refugees rich and diverse programme of festivals and events and Exiles taking real life conversations and that traditionally run throughout the year in the city testimonies that will be sensitively edited and county. We are collaborating with the majority into an arresting theatrical and visual event. of cultural producers so that our programmes work alongside and intersect with each other. RTE Orchestras, Quartet and Choirs We have taken the Galway festival calendar into have agreed to be a one year (2020) resident consideration for our artists, our communities and creative partner. Comprising RTÉ National our audiences when devising our schedule for Symphony Orchestra, RTÉ Concert Orchestra, RTÉ the Galway 2020 cultural programme in order to Contempo Quartet, RTÉ Philharmonic Choir, RTÉ avoid clashes, over-laps and congestion of cultural Cór na Nóg (Children’s choir), Galway 2020 and RTE activity. We can achieve this by delivering work have begun a four year voyage to develop projects in the county and with strategic partners in other of genuine artistic ambition, with international counties when the city is particularly busy e.g. July. partners, particularly in relation to new and original work. Early discussions have taken place around a new commission by composer Gerald Barry, as well as a collaboration with Dumbworld Belfast on a large scale public participation project called WHERE ARE WE GOING? RTE Orchestras, Quartet and Choirs have signed an MOU stating that our two organisations share a creative implulse, a ‘natural fit’ that has underpinned an essential and meaningful way of working.

Cultural & Artistic Content 63 Flagships G2020 Calendar Programme 2016 2017 2018 2019 2020 JAN FEB MAR APR MAY JUN JUL AUG SEP OCT NOV DEC 2021 AN ARTIST IN a) MAKE: Publically Engaged Practice EVERY PLACE p32 European Symposium on publically engaged practice multi-discipline b) CONNECT: International Artist Residencies & Exchanges Ariel Sparks & other projects Longitude/Latitude Festival of Visual Art c) COMMISSION: land-based, site-specific engagements Then and Now HOPE IT RAINS p34 a) Weather-proof Play: Rain playgrounds art, science, design, Faoi Rún engineering, climate b) Green Infrastructure/Water Management: From Sky to Soil through Song c) Renewable Energy & Technology: Gale-Force Symphony d) Landscape & Heritage: Turas Chonamara SMALL TOWNS/ Art & Rural Life BIG IDEAS p36 Edible Galway multi-sectoral A Place Goes Wild County of Screens WINDOW ON Cube Connected Cities THE WORLD p38 interAction technology, art, culture In The Thick Of It (A Virtual Fleadh) Pilgrim VR Story Studio From Here On Waves of Entanglement (un)Inhabitants LAUNCHING & Opening Event LANDING p41 Aurora/City of Light – Closing Event large-scale public WEIGH ANCHOR p42 Galway Ghost Train performance, visual art, Gilgamesh spectacle, heritage, environment, well-being John Gerrard Mirrored Pavilions (2020) Middle Island Monument Promised Paradise Spiritus (4 part series) Sruth na Teanga Wires Crossed Europe SHIP TO SHORE p51 Project Baa Baa! trans-local, Aistriú: crossing territories, languages & artforms multi-discipline Bua Teangacha Sea Tamagotchi Cellissimo Songs from an Open Road Govern Dance – The Nouvelle Vague Kitchen Island Dances Take my seat Tribes – Pride of the Parish Crossing the Lines Eye on the Edge Live Feed Northern Peripheries Talent Campus Peripheral Vision Voyage & Translation: 12 Books West Words FORWARD Hy Brasil MOTION p58 Sym-phonic Waves education, children, young people The Immersive Classroom Galway 2045: A City for Europe GMIT Creative Hub/Design Programme Other One Off events in Fresh Street #3 – Circostrada European Street Arts Congress support of programme 12 Points Jazz Festival

Project Planning/Development/Creation Project Presentation

64 Galway 2020 / Bid Book Two Flagships G2020 Calendar Programme 2016 2017 2018 2019 2020 JAN FEB MAR APR MAY JUN JUL AUG SEP OCT NOV DEC 2021 AN ARTIST IN a) MAKE: Publically Engaged Practice EVERY PLACE p32 European Symposium on publically engaged practice multi-discipline b) CONNECT: International Artist Residencies & Exchanges Ariel Sparks & other projects Longitude/Latitude Festival of Visual Art c) COMMISSION: land-based, site-specific engagements Then and Now HOPE IT RAINS p34 a) Weather-proof Play: Rain playgrounds art, science, design, Faoi Rún engineering, climate b) Green Infrastructure/Water Management: From Sky to Soil through Song c) Renewable Energy & Technology: Gale-Force Symphony d) Landscape & Heritage: Turas Chonamara SMALL TOWNS/ Art & Rural Life BIG IDEAS p36 Edible Galway multi-sectoral A Place Goes Wild County of Screens WINDOW ON Cube Connected Cities THE WORLD p38 interAction technology, art, culture In The Thick Of It (A Virtual Fleadh) Pilgrim VR Story Studio From Here On Waves of Entanglement (un)Inhabitants LAUNCHING & Opening Event LANDING p41 Aurora/City of Light – Closing Event large-scale public WEIGH ANCHOR p42 Galway Ghost Train performance, visual art, Gilgamesh spectacle, heritage, environment, well-being John Gerrard Mirrored Pavilions (2020) Middle Island Monument Promised Paradise Spiritus (4 part series) Sruth na Teanga Wires Crossed Europe SHIP TO SHORE p51 Project Baa Baa! trans-local, Aistriú: crossing territories, languages & artforms multi-discipline Bua Teangacha Sea Tamagotchi Cellissimo Songs from an Open Road Govern Dance – The Nouvelle Vague Kitchen Island Dances Take my seat Tribes – Pride of the Parish Crossing the Lines Eye on the Edge Live Feed Northern Peripheries Talent Campus Peripheral Vision Voyage & Translation: 12 Books West Words FORWARD Hy Brasil MOTION p58 Sym-phonic Waves education, children, young people The Immersive Classroom Galway 2045: A City for Europe GMIT Creative Hub/Design Programme Other One Off events in Fresh Street #3 – Circostrada European Street Arts Congress support of programme 12 Points Jazz Festival

Cultural & Artistic Content 65 4.3 How will the events and activities appeared in the first iteration as projects but, such that will constitute the cultural was the ambition and potential of the proposals that programme for the year be chosen? they were developed in to multi-strand projects that speak strongly to our three core themes of 4.3.1 PROGRAMME SELECTION migration (de-population), landscape and language.

The cultural programme was chosen to reflect 4.3.4 ESTABLISHED CULTURAL ORGANISATIONS Galway’s range of diversity, experience, scale, geographical location and potential legacy. It Established organisations who were not particularly accurately reflects the process applied to the involved in Phase I became increasingly involved generation of projects. Each project was set in Phase II and many responded creatively to the against six essential criteria. Some projects invitation to develop projects within the concept immediately met the criteria and were chosen for Galway 2020 and its European focus. We for the programme. Where projects did not, emphasised that projects must be materially but were clearly very strong, they were given different to how organisations currently make immediate priority and focus to develop them and deliver their work. Some organisations rose further within an agreed timeframe. Other exciting to the challenge without difficulty, some required but under-developed projects were classified as support and advice and others felt they were ‘in development’ for inclusion in the Bid Book or not sufficiently resourced or were time-poor were set aside in a ‘pota óir’ (pot of gold) for future at this point. Certainty of inclusion for these consideration should the bid be successful. cultural producers was not guaranteed and it was understood that their projects would need to 4.3.2 PROJECT CRITERIA meet the criteria that were applied to all projects.

Those projects that have been selected for 4.3.5 CULTURAL HERITAGE the programme and presented in the Bid Book met the six key criteria (it should be Cultural heritage was important in both stimulating noted that these criteria are more precise and choosing projects. As defined by ICOMOS, than those broader criteria referenced in Cultural Heritage is an expression of the ways of 4.5, for initial development of projects): living developed by a community and passed on from generation to generation, including customs, ~~ Artistic merit they will aspire towards practices, places, objects, artistic expressions and excellence and quality. values. This definition was uppermost in our minds ~~ European dimension they speak to when selecting cultural projects so that our bid is common European themes and invite seen to be authentically Galway and Irish but clearly opportunity for partnership. illustrates common European themes that inform all ~~ Capacity Building/Legacy Galway will be of our lives in a European context. Our programme better for it in terms of increased cultural and the projects therein show this shared European capacity, sustainable networks and cultural heritage and our collective experiences collaborations and the generation of new of Migration MIDDLE ISLAND p44, WINDOW ON creative impulses in the city and county. THE WORLD p38, Landscape MONUMENTS p47, KITCHEN ISLAND DANCES p54 and Language ~~ Deliverability Galway can do it; can SRUTH NA TEANGA p45, SPIRITUS p45. afford it; is it well distributed; and we have the infrastructure (hard and soft). 4.3.6 FUTURE PROGRAMMING ~~ Public Engagement it will involve people as participants, makers, We believe the process by which the cultural collaborators and audiences. programme was chosen for Bid Book II was ~~ Relevance it clearly illustrates where and what rigorous, fair, geographically distributed and Galway is and it is relevant to Europeans. that it strikes a strong balance between public engagement, impact, legacy, entertainment and 4.3.3 CONSISTENCY enjoyment. We recognise the need to maintain this rigour following the designation and that a It was important that the selection of projects for further 30% of programme needs to be chosen. the cultural programme was true to the process This will be done by the Creative/Artistic Director by which the ideas were generated. There was who will have the responsibility for designing and excellent consistency between Phase I and Phase curating the 2020 opening ceremony; responding II and projects that were mentioned in the first Bid to new ideas; examining those that remain for Book were not only retained but were developed now in the ‘pota óir’; and building projects with into compelling programmes and projects which international collaborators. All of this will augment meet the criteria set out above. Of the four the very strong multi-annual and capacity programme strands that are presented as our building selection of work made in Phase II. Flagship Legacy projects in Bid Book II all of them

66 Galway 2020 / Bid Book Two 4.4 How will the cultural programme 4.5 How has the city involved, or how does combine local cultural heritage and it plan to involve, local artists and cultural traditional art forms with new, innovative organisations in the conception and and experimental cultural expressions? implementation of the cultural programme? Please give some concrete examples and name Our local cultural heritage and traditional some local artists and cultural organisations heritage will be experienced by making waves with which cooperation is envisaged and which churn up the sediment of the past and specify the type of exchanges in question. make new shapes. Local and international artists will examine and dismantle some of Since the inception of Galway’s bid we have our most traditional arts, cultural heritage, regarded it as fundamental to listen to what local including landscape, with a new representation artists and cultural organisations want from the challenging our complacency towards them and ECOC. We have encouraged a sense of collegiality reinvigorating them with a heightened value. and collective ambition in the cultural sector so that artists and organisations are working in concert, MONUMENT p47 invites designers and towards securing the ECOC designation for the makers to respond to the finds that survived benefit of all. We have reached out to every corner from the large-scale monuments of this of the Galway region through a thorough process project and to imagine, design and make of mass participation, crowd sourced ideation and new objects to accompany this exhibition. co-creation to ensure that local artists and cultural organisations are at the centre of generating PROJECT BAA BAA’s Jumping Jumpers p51 showcases traditional ‘aran’ jumpers, wool and our programme. Our philosophy is inclusive. Our knitting patterns. This traditional craft is revered process is enabling. Our objective is achievement. internationally in the world of fashion but held The criteria for developing project ideas in snobbish disdain by many in Ireland. This for Galway 2020, which were broader than project places textiles, wool, knitting, weaving the criteria outlined in 4.3 for projects firmly within a contemporary context and selected for the bid book, included: repositions it back into the heart of Irish people. ~~ Be self-generated and ambitious KITCHEN ISLAND DANCES p54 emulating the ancient Irish tradition of procession ‘Brideóg’ ~~ have artistic merit and potential connects the older generation in rural communities for excellence and quality through the Meals on Wheels service brought ~~ Involve European partners often and early daily into their lives with traditional dance ~~ Be materially different to what established and stories. A new opportunity to encourage cultural organisations are already doing cultural activity, combat isolation and promote movement in hard to reach communities. ~~ Be designed through co- creation and collaboration VR STORY STUDIO p40 takes our long held ~~ Be supportive of artists working in places tradition of story-telling, folklore and literature where they love and with people they respect and completely reinvents how we tell a story for a new era of technology and visual experience. ~~ Be encouraging of risk taking and innovation The multi-annual storytelling summer schools will ~~ Projects must be sustainable bring together story-tellers from across Europe ~~ Be inclusive in terms of gender, to create this new syntax and grammar of a ethnicity, disability, aged and young story-telling language not yet truly understood. ~~ Build capacities in terms of excellence and scale MIRRORED PAVILIONS (2020) p46 by Irish artist ~~ Lay foundations for a strong John Gerrard creates three unique 100 meter cultural legacy beyond 2020 mirrored installations which will melt into the landscapes of Galway City, Connemara and ~~ Reflect and respond to the strategic objectives Santander. Local energy sources, water, wind and of the Galway Cultural Strategy 2025 sun, will drive algorithmic dance performances by ~~ Build strong interactive networks locally, figures cloaked respectively in leaves, straw and regionally, nationally in Europe and beyond pelt based on surviving European folk traditions. ~~ Develop strong links with other ECOCs – bidding, designated and former hosts

The following table summarises the engagements achieved in Phases I and 2 of the bid process – it is clear that a huge amount of concrete work has been achieved since our first Bid-Book and it addresses many of the observations and concerns of the judging panel following Galway’s first presentation.

Cultural & Artistic Content 67 How we involved Local Artists and Cultural Organisations in the development of Galway 2020

Phase one Phase two What we Did How we did it 13th April–13th November 2015 15th November–17th June 2016 Project Examples arising

Engagement We engaged with the creative community not only in an artform specific way but also in a geographical way, engaging with artists, festivals, cultural organisations. 28Speak Outs 11Speak outs 3Pilot Projects up and running with regards to Small Towns Big Ideas engaging over 75 145 556 Artists living in Galway Stakeholder meetings meetings held with artists/ cultural producers to develop projects

Now a programmed venue and 1 a meeting place for Artists Community Hub established

Inspiration Workshops for those who Specific workshops for each An Artist In Every Place - wished to develop ideas for project/programme Public Workshops held with the programme and provided ongoing support to them to engage with the process. 48 Thematic Subgroup meetings

149Artists

Virtual Capital of Culture - workshops held with

120makers/artists/hackers

Analysis Having collected and critically 348 Submissions worked up to analysed ideas we set about the development of thematic strands and concepts for our programme. 348 6 Submissions member programme team in 90projects though expanded place to analyse the projects programme team and assist cultural producers

Development Projects were selected on Over the basis of the criteria above but especially their viability and their potential impact on capacity building. 38 90 project workshops projects developed 120local artists engaged in projects directly 3 European workshops engaging 50 participants engaged

58cultural organistions in Galway involved in delivering projects

Delivery The process of producing pilot No pilot projects delivered Over An Artist in Every Place Pilot projects has commenced and Project – 4 Residencies will be continued and developed commenced through to 2020 and beyond. 3 towns activated as part of small towns big ideas 320project partners confirmed 8 funding agencies committed Hope it Rains Pilot project 10 local authorities committed commenced engaging over 30 children Over Immersive Classroom Pilot commenced with over 40 participants

Hy Brasil Pilot project 22 35Artists commissioned to children engaged do Murals, Poems, Hub projects, Films and VR events, Bealtaine events, etc…

68 Galway 2020 / Bid Book Two Specific Actions towards engagement of Winner of the Prix Ars Electronica 2016, Belgian local artists and cultural organisations company CREW presented a workshop in June Galway 2020, with the Cultural Strategy Team, 2016, as a pilot element of THE IMMERSIVE initiated many events and actions to provide CLASSROOM p59 project on immersive storytelling, opportunities for local artists and cultural transmedia, mixed reality, the internet of things organisations to expand their contextual sense illustrating the numerous possibilities of these of European collaboration and to identify ways of working, performing and thinking. The possible European co-production partners. participants were the partners in THE IMMERSIVE Here is a selection of some of these initiatives. CLASSROOM p59 project including artists, filmmakers, educators, organisations, theatre and Artists, academics and activists from Ireland, performance artists in Galway 2020s VCOC. Iceland, Poland, Wales, Scotland, the United Kingdom, Germany, Sweden, Austria participated As part of San Sebastian/Donostia 2016 ‘Tosta’ three days of workshops on the themes of project, Galway Artist, Nuala Ní Flathún participated Migration, Landscape and Language. 25 local in a 5-week residency in Friesland as part of participants attended the workshops over six days Leeuwarden 2018. Galician traditional singer, Ana and developed partnerships to create projects Belen undertook a 6 week residency in Conamara for Galway 2020, these include SUGÁN p62, SEA in traditional style of sean-nós Irish singing. TAMAGOTCHI p52 and AISTRIÚ p52. These projects are being led by Local Artists and Producers, in SMALL TOWNS, BIG IDEAS p36 is just one of a partnership with European and National Partners. number of ambitious programmes spearheaded by Galway 2020, that aims to culturally strengthen Galway 2020 intend to become members of towns and villages throughout the county through InSitu (Platform), the European network for artistic events and projects organised by the people creation in public space. With over 21 partners who live, work, study and dream there. Such has from over 14 countries, supporting more than been the scale of engagement and the universal 150 artists. In Situ was supported by Creative enthusiasm for the development of the programme Europe as a platform for publicly engaged arts that a series of pilot projects have been arranged. practice from 2017–2020. Theatre-maker, John Rogers participated in a residency programme in Pilot Projects November–December 2015 with artists from Italy, Headford – THE NESTING LARK 26–29 May 2016 Denmark and the United Kingdom as part of the In The Headford pilot project will explore the identity Situ Sura Medura Sri Lankan residency programme. of the town and through a series of interactive workshops led by Artists working in the community, Galway 2020 participated in IETM, creating project there are a number of European Artists living in partnerships with artists, writers and theatre this small town and they wanted to explore the makers in Spain, Norway, Scotland, Wales, Belfast, theme of Nesting – blowins setting up nest, locals the Netherlands, Greece, France and Belgium. emigrating and leaving empty nests, empty nests during the day as people go elsewhere to work Attendance at significant network events and as there is so little there – all themes common meetings in Europe including the In Situ Meeting, to small towns around Europe. Artists include which was attended by Local Artist Denise Eillis Nic Dhonncha (Local Artist) Selma Makela McDonagh, who is working on two projects (Finnish Artist) Miquel Barachelo (Mallorcan – THE IMMERSIVE CLASSROOM p59 and AN Artist) Veronika Straberger (Austrian Artist) ARTIST IN EVERY PLACE p32 for Galway 2020. Athenry – THE EDIBLE LANDSCAPE/POT LUCK Artists from Scotland, Austria and Germany March–June 2016 collaborated with local artists and communities in The people of Athenry got together to plant the pilot projects for AN ARTIST IN EVERY PLACE hundreds of plants. On 16th June, the town will p32. Co-curated with UZ Arts from the In Situ re-unite in Athenry Town Park, where the fruits network and Local Producers Tulca Contemporary of the planting will be transformed into art. There Visual Arts Festival of Galway, the projects will are 16 Local Artists involved in the project and take place between March – July 2016 in urban 15 local community groups, the project is being and rural locations involving an environmental led by Máire Daly a local cultural producer. community group, workplace choirs and traditional boat builders and in partnership with Ballygar – SUGÁN April–September 2016 the National Marine Institute located in Oranmore, The Ballygar pilot project, entitled SUGÁN (not to Co, Galway. Local Artists selected to work on be confused with SUGÁN – INIS ÓIRR TO ISTANBUL) this pilot project alongside international artists which began in April, will continue through to include Feilim O’ hAolain, Catherine Denning, September with a series of events and workshops David Boland, Debbie Reilly and Caroline Stanley. inspired by the traditional rural skills of Sugán (hay rope making) bringing the village together through a series of interactive Artist Led workshops with Artists Ceara Conway and Sheila Flanagan.

Cultural & Artistic Content 69 5. CAPACITY TO DELIVER & OUTREACH

70 Galway 2020 / Bid Book Two 5.1 Please confirm and supply evidence that 5.2.1 OUR PLACE-PHYSICAL INFRASTRUCTURE you have broad and strong political support and a sustainable commitment from the relevant Galway is synonymous with ingenuity in terms of local, regional and national public authorities. the creative use of places and spaces. For many years cultural activity was presented in temporary, The Irish Ministry has committed to providing purpose built locations and unconventional non- €15m to resource whichever of the three arts spaces due to inadequate infrastructure. remaining Irish bids should be successful. Eventually municipal (and other) spaces were developed in response to the increasing creativity Galway City and County Councils re-asserted in performance in the city. While still in need of their support for the candidature by agreeing bid new spaces the inherent ingenuity and creativity book commitments and governance model at is evident in the programme that has been their meetings of 16th and 23rd May respectively. developed. Artists, communities and cultural The North Western Regional Assembly, which organisations have found ways to celebrate has overall responsibility for economic and spatial our landscape and our heritage by locating planning for Ireland’s Northern & Western region largescale projects in found spaces and site has given its support for the Galway 2020 bid. specific locations (the Aran Islands), Connemara hillsides, disused airport, handball alleys, public The Western Development Commission libraries and heritage houses. Very large outdoor which supports social and economic spaces that are available to Galway 2020 and development in the Western Region has which have capacities of up to 30,000 people also pledged its support for the bid. include, the Fair Green in Ballinasloe, South Park in Galway City and the old Galway Airport Memoranda of Understanding from Counties, site. This also serves the purpose of making the Donegal, Leitrim, Sligo, Roscommon, Mayo, cultural programme accessible and accidental for Clare, Tipperary, Westmeath, Offaly and audiences who will have the opportunity to both Dublin in support of the Galway 2020 bid make trips to see work MIRRORED PAVILIONS have been signed and the Chief Executives (2020) p46, PROMISED PARADISES p47 or simply of each municipality has pledged support. stumble upon it unexpectedly which will impact All individual Members of Parliament, Senators, and on those who don’t think culture is for them. Councillors in our region are behind our bid and in However, many projects within the programme, many cases have participated in our speak-outs. festivals and large special once-off events require built infrastructure and it is our intention to optimise 5.2 Please confirm and evidence that your these resources for the 2020 programme. city has or will have adequate and viable infrastructure to host the title. To do that Optimise Our Existing Infrastructure please answer the following questions; Existing Cultural Spaces will be programmed Explain briefly how the European Capital and best use will be made of as many spaces as of Culture will make use of and develop possible. We have committed to programming the city’s cultural infrastructure. equally within the city and the county and the following lists the available infrastructure. At Galway 2020 we aim to ensure that every citizen will have access to our programme. With Developing New Infrastructure that in mind, our programme has been developed The implementation of a sustainable cultural to respond to our existing infrastructure as well strategy needs investment – in terms of funding as making the best possible use of our public and manpower and existing resources. One of spaces, our landscape, unconventional venues, the areas requiring significant capital investment bringing culture into every possible location during the lifetime of this ten-year strategy is of the city, county and islands (and online) cultural infrastructure – both physical infrastructure so as to invite as many people as possible to – buildings – and collaborative infrastructure – participate, to engage and to attend our events. and virtual cultural hubs. In terms of buildings, a number of key cultural deficits are identified below. These proposed additions to the cultural stock of Galway are all needed and will certainly enhance the cultural offer of the city and county.

Capacity to Deliver & Outreach 71 Table 5.2a Existing Cultural Venues and Associated Projects

Venue Location Project examples

31 Libraries City/County Wide West Words, I am…we are, Cross Town Traffic Hy Brasil

6 Cinemas City Film/symposia; Galway/Clifden Ghost Train (documentary)

16 Galleries City/County-wide An Artist In Every Place, Small Towns, Big Ideas, Everyday Superheroes

12 Museums City/County-wide Monument exhibition

33 Heritage Sites City/County-wide An Artist in Every Place, Hope it Rains, Aurora-City of Light, Then & Now Big Houses

11 Theatres City/County-wide Spiritus, Govern Dance, Songs from an Open Road

63 Playgrounds City/County-wide Hope it Rains

Arts Centre Inis Oirr Aran Island Sugan

12 Community Centres County-wide Abbey Theatre (Tour), Small Towns, Big Ideas

Galway City Museum City Monument, Tulca

Galway University Hospital City Changing Waves, An Artist in Every Place

Table 5.2b - Planned Cultural Venues

Completion Project Date Status Delivery Partners Est. Cost

Spanish Parade Feb 2017 Fit out stage DAHG,Bord Scannan, WDC, Solus €7.9m Picture Palace Picture Palace Teo, Element Pictures, Galway City Council

Nun’s Island 2020 Planning stage Galway City Council, Galway €12m Galway City and County Library County Council, The Library Council, NUIG, ERDF

Dyke Road 2020 Planning stage ERDF, Galway City Council, €13m Cultural Hub – Gallery/ Private Sector joint venture Perform/ Music/Producers & Rehearsal space

Children’s Creativity Hub 2019 Renovation/ Galway City Council, Baboró, €3.5m Refurbishment Branar, Galway Community Circus

Sea Gate District 2020 Proposal Stage Galway City Council, Fáilte €4m Museum/Historic Centre Ireland, Nat. Museum of Ireland, Hub Expansion DAHG, Marine Institute, NUIG

Merchant’s Rd Lower 2018 Planning Stage Galway City Council €.5k Artists Studios & Residential Spaces

Nun’s Island 2017 Planning Stage Galway City Council, Galway €.3m Youth Arts Space & Hub Arts Centre, Galway Youth Theatre, Galway Youth Arts Alliance, Macnas, Arts Council

Cluain Muire CCAM Creative 2018/19 Design Stage GMIT, Galway City Council €4m Hub, Enterprise Centre + Venue Acoustic Music & Perform

New Theatre NUIG 2018 Under construction NUIG €3m

Leisureland Music/ 2020 Renovation/ Galway City Council tbc performance venue adaptation

72 Galway 2020 / Bid Book Two Occasional/Temporary Infrastructure ~~ Streets of the city and the roads of the county We will programme Spaces for Culture a will come to life with the abundant cheer of the series of artistic projects that will take place spectacle that is Macnas in GILGAMESH p43 in locations that would not ordinarily house and NVA Glasgow animating the landscape cultural activities, we are working with a number from Galway City to Clifden along the disused of companies to gain access to Buses, Boats, and much lamented Galway/Clifden railway Cycle-ways, Sports grounds and so on. Part of line (scheduled to become a cycle green-way). our audience development strategy is to ensure ~~ Our sports grounds will be reimaged though that we can involve as many people as possible Tribes – the pride of the parish, a project in our programme, therefore programming in that welcomes the 150 GAA clubs in the ‘non’ cultural spaces becomes important: county to create a dance that reflects their ~~ The Marine Institute’s research vessel, landscape and their own ‘tribal’ identity. the Celtic Explorer will become a place Public Realm of artistic and scientific exploration with We will make best use of our landscape and projects such as ARIAL SPARKS p33 and public realm, we have devised a series of projects AN ARTIST IN EVERY PLACE. p32 that highlight our landscape and allows us to ~~ TAKE MY SEAT p54 will both be based on programme high quality artistic projects in site and presented on the, 17 times per day, specific locations, ensuring that our landscape as GoBus run from Galway to Dublin Airport ‘venue’ is placed firmly within our programme: (via Dublin City Centre). This is presented in collaboration with Dublin City Council. ~~ Projects like PROMISED PARADISE p47 will see our rural public space ~~ Businesses, Farms, Castles, Boats revitalised with international artists will all be programmed as part of an working on land based commissions. ARTIST IN EVERY PLACE p32. ~~ MONUMENT p47 will have a presence ~~ THEN AND NOW p33 A project which will on all three of the Aran Islands and highlight the colonial architecture of the Big at the Galway City Museum. Houses in the East of County Galway. ~~ MIDDLE ISLAND p44 will take place on Inis ~~ Schools; Our schools will play a huge role in Meain, the middle island of the Aran Islands. hosting and taking part in a number of projects ~~ John Gerrard – p46 including; THE IMMERSIVE CLASSROOM p59, MIRRORED PAVILIONS (2020) will be located in the Connemara landscape to SYM-PHONIC WAVES p59, HY BRASIL p58, ‘mirror’ the one located in the city centre across STRUTH NA TEANGA p45 and also they will host smaller events in 2020 such as exhibitions, the river Corrib both powered by water and wind. events and recitals, ensuring that every school The local authorities in our strategic partnership in Galway will take part in a vibrant programme. have committed to supporting Galway 2020 and in doing so have also offered their venues as locations for events to be programmed over the next four years.

Capacity to Deliver & Outreach 73 5.3 What are the city’s assets in terms This summer almost 200 weekly cross channel car of accessibility (regional, national ferry sailings from Ireland to the UK and France and international transport)? are scheduled to accommodate 50,000 cars.

Galway and the region is very well There are plans for a major development connected nationally and internationally. of Galway Harbour which will enable cruise liners to dock there. 5.3.1 INTERNATIONAL 5.3.2 NATIONAL Shannon Airport which is one hour from Galway had a total of 1.7 million passengers in 2015. It has The Irish road infrastructure has been greatly 14 daily bus services and five daily train services. enhanced in past 20 years due largely to investment by EU Structural Funds. A network Ireland West Airport (Knock) which is 90 minutes of motorways connects all major cities. Galway from Galway had 700,000 passengers in 2015. is two hours from Dublin. The new Galway Galway City and County Councils are now Orbital Route providing a bypass around a shareholder in the airport. It is 85 minutes Galway to facilitate the growth in traffic in from Galway, with six daily bus services. the region is currently in planning stages.

Dublin Airport is about two hours from There are 51 daily bus services to Dublin Galway by motorway. Buses run every half and 15 daily train services. The journey hour from Dublin. 25 million passengers times are around two hours. passed through the airport in 2015. The region has a network of rail and bus The map below shows current destinations from services connecting all small towns. Knock and Shannon Airports with estimated flight times. Dublin Airport has virtually saturation coverage of Europe and North America.

2 3 4 5

74 Galway 2020 / Bid Book Two

5.4 What is the city’s absorption capacity 5.5 In terms of cultural, urban and tourism in terms of tourists’ accommodation? infrastructure what are the projects (including renovation projects) that your Galway has experience in hosting large city plan to carry out in connection with scale events, such as the Volvo Ocean race, the ‘European Capital of Culture’ action which brought 650,000 visitors over a two between now and the year of the title? What week period. The events programmed for is the planned timetable for this work? Galway 2020, have been spread over the year, to maximise the use of our capacity. As set out in our previous bid book the delivery of new infrastructure is in connection with As well as the existing accommodation, NUIG and part of our Cultural Strategy (see 2.1.1 and has plans to develop a further 500 student 5.2). Our programme of events, as outlined, accommodation units, which will be used as self will be delivered within current infrastructure. catering accommodation outside college term. Any additional cultural infrastructure delivered There are planning permissions being processed between now and the title year can be considered for renovations/extensions to hotels. As discussed as part of projects under development. in 3.2, the Tar Isteach (Come in) initiative will With regard to urban and tourism infrastructure generate additional accommodation capacity. there are plans to carry out a number of projects that will enhance the accessibility Strategic and connectedness of Galway. The Galway Galway City Partnerships Premises/Unit & County /Region Transportation Strategy (2030), involving investment of €250m, will enhance public Hotel Beds 10,233 26,285 transport, reduce cars and promote cycling and walking in public domain. Most of the Guesthouses 525 1,267 investment will be made by early 2020s. B&Bs 1,744 3,992 Galway City 2020 Design phase Accessibility Self Catering 899 5,714 Transportation Project Caravan & Campsites 700 6,587 M17/M18 2019 Under Connectedness Motorway construction AirBnB 1,923 4,142 Gort to Tuam

Hostels 1,082 1,446 Greenways 2019 Under Connectedness construction University 2,564 Accommodation (summer availability) 5.6 Explain how the local population and your civil society have been involved in Total 19,670 49,433 the preparation of the application and will participate in the implementation of the year?

One of our proudest achievements and the wellspring of our ECOC bid has been the enormous scale of engagement with our citizens and with civil society. Across very diverse groupings there has been a magnificent response to our consultation process. Commencing with the open, bottom-up process we applied in the development of Bid Book 1 we have continued and strengthened this approach in the preparation of this Bid Book. This approach is rooted in a commitment to the principle that the development of a truly authentic ECOC bid requires the involvement and support of all our communities.

The scale and structure of our engagement and consultation process has been designed to facilitate the direct participation of the broadest spectrum of society in Galway. In addition to the main components of this process, our local population has also been directly involved in the development of the Galway 2020 programme through the collaborative process outlined in 4.5.

Capacity to Deliver & Outreach 75 5.6.1 CITIZEN PARTICIPATION IN DEVELOPING GALWAY’S BID – SOME FACTS AND FIGURES

The table below shows the involvement of the people of Galway in the bid process.

Component Description Outcome

Public Speak Outs -- High level of awareness and understanding of Galway 2020 bid across the city and county. -- The development of Small Towns Big Ideas as a strategic model and full programme strand. 39community based public meetings gathering communities’ ideas and visions for ECOC. These meetings were held throughout the city and county, including our offshore islands and even as far afield as the Galway diaspora in Dublin, London and Chicago. Over 1,200 people attended these meetings.

Stakeholder Over -- Unequivocal support from all key Engagement stakeholder groups for Galway 2020 bid. -- Participation in programme development. -- Development of Galway 2020

corporate fundraising programme. one-to-one200 meetings, focus groups and presentations with local business sector, creative industries, education institutions, local tourism sector, sports organisations and politicians.

Community Outreach Over -- Strong focus on social inclusion in development of cultural programme. -- Direct participation of marginalized groups in Gawlay 2020 bid process.

one-to-one100 meetings, focus groups and presentations to an extensive range of NGO’s and community structures including our Public Participation Networks and local organisations and activists working with young people, older people, ethnic minorities, people with disabilities, LGBTI community and many more.

Volunteer Programme A dynamic, fun and creative Galway 2020 volunteer -- Direct participation by local population in Galway programme that has signed up a core team of 2020 awareness-raising activities and in the development and delivery of our Pilot Projects. 982 people throughout the city and county.

Galway 2020 An online community of over -- Significant contribution in building awareness, Online Community momentum and offline participation in the bid. 70,000 people grown in just over 12 months, building momentum for the bid and feeding directly into all of the offline activities of the bid process.

Galway 2020 The nerve centre of Galway’s bid. A centrally located The provision of an open, neutral space which Community Hub community space hosting daily meetings, focus attracted the participation of diverse groupings groups, and workshops, all directly connected to in meetings, workshops and cultural events. the development of the programme. The ‘Hub’ has also provided the open ‘community’ space for our Volunteer Meet Ups and regular cultural events.

Random Acts The huge show of support for the bid from the A clear indication of how active and of Bidness general public. From farmers branding their sheep supportive our local population has been Galway 2020 to local businesses doing Galway in the Galway 2020 bid process. 2020 murals and banners to #IBACKGALWAY chalk messages appearing all over the city.

76 Galway 2020 / Bid Book Two Capacity to Deliver & Outreach 77 5.6.2 CITIZEN PARTICIPATION IN THE From 2017 onwards we will develop our strategic DELIVERY OF GALWAY 2020 partnership with the two largest volunteer structures in Galway; namely the Galway Volunteer Three of our four Flaghsip Projects are designed Centre and the ALIVE programme in NUIG. We also to engage directly with local communities and aim to develop a strong European dimension to organisations and to build their capacity to our volunteer programme by facilitating volunteer participate in the development and delivery of the exchanges between Galway and other ECOC’s cultural programme. SMALL TOWNS, BIG IDEAS p36 in 2018, 2019 and of course Rijeka in 2020. With will see the delivery significant capacity building these key partnerships in place we estimate that measures to communities across the county with by 2020 the Galway 2020 Volunteer Programme the mentoring of the Galway 2020 team, and will have mobilised a minimum of 5,000 people. our partnership with ENCC and Entopia. Having piloted Small Towns, Big Ideas in the towns of As citizen participation is central to the Athenry, Ballygar and Headford we have already development and delivery of our community begun to demonstrate the potential of this model hospitality initiative Tar Isteach, as outlined in 3.2.3. to activate small rural towns and mobilise local communities around exciting new cultural projects. 5.7 How will the title create in your city new and sustainable opportunities for a wide HOPE IT RAINS p34 will involve a whole range of citizens to attend or participate series of publically engaged projects that in cultural activities, in particular young will be fun, participatory and educational but people, volunteers, the marginalised and will also respond to the pressing local and disadvantaged, including minorities? Please global challenges of creating a healthier more also elaborate on the accessibility of these environmentally sustainable lifestyle. activities to persons with disabilities and the elderly. Specify the relevant parts of the Projects within AN ARTIST IN EVERY PLACE p32 will see artists working in a range of public programme planned for these various groups. environments alongside local organisations, groups and individuals, creating projects 5.7.1 AN INCLUSIVE ETHOS that engage with new audiences. Our ECOC will connect with all our A number of our WEIGH ANCHOR p42 communities. Galway 2020 is also committed projects like GALWAY GHOST TRAIN p49 and to making a real and lasting contribution to GILGAMESH p43 will culminate in large public the greater inclusion and empowerment of spectacle events that will require significant marginalised and disadvantaged groups. participation by local communities while also attracting large scale audiences. Embedding this principle in our work will be one of the key legacies of Galway 2020. Our Volunteer Programme will also play a fundamental role in the development and delivery This ethos is in keeping with Galway's Cultural of the ECOC. We view our volunteers as much more Strategy and its strategic objectives, in particular than the essential human resource that any cultural its first strategic objective of Access and Cultural initiative of this scale and status requires. We see Rights (2.1.1). We will work hand in hand with the them as community ambassadors to encourage strategy team in the development of a new Cultural mass participation and attendance at ECOC Inclusion Toolkit and other targeted participation events. Our volunteers will also be very effective in and inclusion measures, as set out in 2.1. supporting intercultural participation and dialogue and for engaging with harder to reach groups.

Our ECOC will connect with all our communities. Galway 2020 is committed to making a real and lasting contribution to the greater inclusion and empowerment of marginalised and disadvantaged groups.

78 Galway 2020 / Bid Book Two 5.7.2 AN INCLUSIVE PROGRAMME 5.7.4 WORKING WITH OLDER PEOPLE

In developing our cultural programme one of our We are working with the Galway Age Friendly key aims has been to identify and design cultural Programme and with other older peoples’ projects that have universal appeal. Projects organisations to mitigate the common barriers that resonate with people of all backgrounds to cultural participation of older people such as and offer genuine scope and capacity to enable cost, comfort and transport. There are a number diverse participation. This is a consistent with our of projects that will see us engaging specifically consultation process and we have responded with older people. KITCHEN ISLAND DANCES to it in the design of our overall programme. p54 will lessen the social isolation and loneliness experienced by many older people through Examples include SPIRITUS p45, TAKE MY SEAT p54 dance, food and storytelling. Meanwhile in the and a number of our projects listed in the ‘Projects coastal villages of Galway, Galicia and the Sami Under Development’ section of the programme, Territories SEA TAMAGOTCHI p52 will tap into the including CROSSTOWN TRAFFIC p62 and WHERE rich maritime knowledge, traditions and language ARE YOU GOING? p63 (in development). All of of older people living in those communities. these projects by their very focus and design will enable the type of diverse participation we are committed to achieving through our programme. 5.7.5 CELEBRATING CULTURAL DIVERSITY

Our Wave Making seeks to provoke debate, We intend to celebrate Galway’s rich challenge assumptions, and raise awareness in diversity of nationality, ethnicity, language society about issues of marginality and exclusion. and beliefs in both large and smaller projects throughout our programme. MIDDLE ISLAND p44 will be performed in another European location and will explore issues of SPIRITUS p45 will require the direct participation exile, persecution and indigenous cultures. of minority communities in its development HY BRASIL p58 will enable young audiences to and will culminate in large multicultural public imagine a more progressive and egalitarian social performances. SONGS FROM AN OPEN ROAD model that is free from the prejudices and p53 events will focus on nomadic cultures from exclusions that undermine our current model. Ireland, Europe and further afield and will use And the innovative (UN)INHABITANTS, p40 music and song to remind us that the history of the using holographic projections, will place those human race is one of migration and exchange. experiencing extreme forms of marginality at the very centre of our public realm. TAKE MY SEAT p54 will engage directly with migrants and allow them to share their stories with 5.7.3 WORKING WITH YOUNG PEOPLE a wider audience in a unique environment while VOYAGE IN TRANSLATION p57 will use libraries Provision for children and young people is of to bring people from different communities primary importance to us in every aspect of our bid. together to foster intercultural dialogue. In addition to the projects working with schools, outlined in the programme (4.2) and our children's Our programme will seek to respond to strategy in audience development (5.8). Several the more difficult and challenging issues of youth projects will support the creative and social racism and exclusion faced in particular by the Irish Traveller community, but also by new development of young people. TRIBES – THE communities, refugees, Roma people and PRIDE OF THE PARISH p55 will engage with Gaelic sports clubs throughout the county and work with others. The strategies needed to properly serve young people in each club to create their own these most marginalised communities are by their nature slow and deliberate and require heroic dance. WIRES CROSSED p48 will see young people from across Europe working together time to form trusting engagement. The time through circus skills while raising awareness about we have spent in the bid process and the lead time to 2020 will allow us to have meaningful mental health. LIVE FEED p56 will create a new supportive environment for Galway’s live youth engagement with these communities. We will music scene while also responding to the critical continue to build our relationships with the newly need to provide safe, alcohol and drug-free spaces formed Galway Anti-Racism Network, Galway Traveller Movement, Galway County Intercultural for young people to socialise. EYE ON THE EDGE p55 will form an exciting new partnership between Forum and other local, national and European Galway and European institutions in supporting organisations working in this area to ensure these the democratic participation of young people. communities have a strong voice in Galway 2020 and that we can co-create new cultural projects that can combat the racism and exclusion they experience. The 30% of our programme that we have set aside for future project development will in part be used to develop programmes for and with these minority groups, who by their nature require a longer lead development period.

Capacity to Deliver & Outreach 79 5.7.6 UNIVERSAL ACCESS 5.8 Explain your overall strategy for audience development, and in particular the link with Galway 2020 is committed to ensuring that education and the participation of schools. people with disabilities, amongst the most marginalised in our society, are facilitated to participate fully in the year of culture. 5.8.1 OBJECTIVES

We have already commenced the work required Our strategy for audience development is to ensure that all performances and events are embraced in a broader strategy for public held in accessible venues and public spaces engagement which aims to achieve more through ‘accessibility proofing’ of all the projects cultural opportunities for citizens; individual in our programme. We will progress this work development and social cohesion. The through the strategic partnership we have already strategy which has been built into decisions established with Arts and Disability Ireland (ADI) on programming, education, outreach and during our bid process. Specifically, this will involve communications has three priority objectives the delivery of a series of tailored workshops ~~ Diversity (more diverse audiences) by ADI and their international partners Attitude is Everything (UK) and VSA (JFK Centre for the ~~ Depth (better experiences and Performing Arts, USA) to our cultural producers. In relationships with existing audiences) this way we will be integrating best international ~~ Width (new audiences) practice in the provision of accessible and Our audience development strategy has assisted performances, exhibitions, screenings been developed in conjunction with Galway’s and large scale events into our programme. Cultural Strategy (2016–2025) with the intention of ensuring a mutually compatible Our WINDOW ON THE WORLD p38 projects also provide further evidence of our commitment approach to sustaining and developing to universal access and providing inclusive audiences and practice long into the future. experiences for audiences with disabilities. Projects like CUBE CONNECTED CITIES p39 and 5.8.2 STRATEGY INTERACTION p39 in particular will enable people to remotely access fully immersive cultural Galway’s audience development strategy has experiences from the comfort of their own homes. been inspired by the engagement process from which the programme has originated. The process Finally, CROSSING THE LINES p55, a pan- of crowd sourced ideation and collective co- European capacity building project will support creation has inspired thousands of people who professional actors with an intellectual disability never considered themselves part of the artistic to move beyond the specialised training model community, for the first time, to take an active and into mainstream training programmes. role in a cultural project. This shift from passive bystander to active participant is the spirit which 5.7.7 MAINTAINING OUR APPROACH AND ETHOS underlies much of this strategy. Our approach also reflects the work of the ADESTE programme We understand that achieving what we have over the past three years and contemporary set out will take time and hard work. There international practice. The audience development are no short cuts to genuine community strategy is outlined in three sections: engagement and this is particularly true when working with marginalised groups. We can only ~~ Upstream Activities which take place achieve our goals in this area by continuing and before an event or project deepening our approach to outreach which ~~ In-event Activities which are built in requires direct engagement, building up trusting features of events or projects relationships, and creating the space for those ~~ Downstream Activities which take on the margins to participate and collaborate. place after an event or project We have already started this work, it has informed and inspired our bid, and we will continue on this path in developing our programme between now and 2020.

80 Galway 2020 / Bid Book Two 5.8.3 UPSTREAM Through training programme in Digital Communications and Marketing, lessons Involving people as participants in events and will be delivered to all of Galway’s cultural activities which are relevant to them make organisations, collectives and artists to them collaborators in the creative process. improve digital skills and competencies as All Galway 2020 projects have been designed part of overall attempts at increasing levels of to achieve this objective. For example Druid will audience engagement and participation. engage a local cast of 20 participants to become active performers in the production MIDDLE 5.8.4 IN-EVENT ISLAND p44 on the Isle of Corsica and Inis Meáin. This public engagement will begin in Corsica when Our ‘in-event’ audience development strategy is focused on reaching out to new audiences the production tours. In PILGRIM p40, Artists and technologists will work with local communities and improving the experiences of existing to co-create prototypes that to challenge audiences by removing virtual barriers, ecological and environmental sustainability. physical barriers and by being relevant.

Audiences will become actively involved in the Galway 2020 wish to remove physical and creation/production process. Communities in mental obstacles to audiences participating Athenry, Headford and Ballygar have already in cultural events by having as many events in come together to work alongside professional non-traditional spaces as possible. Our goal artists to co-produce Galway 2020 pilot is to overcome the common perception of citizens that ‘cultural institutions’ are simply not projects THE NESTING LARK p69, THE EDIBLE for them. Examples include Macnas epic street LANDSCAPE p69 and SUGÁN p69. Children will work with architects and designers to spectacle GILGAMESH p43 will take place on design their own water proof playgrounds urban streetscapes and landscapes across the county. The electronic music and digital art festival as part of the project HOPE IT RAINS p34. FROM HERE ON p39 will take place in disused Audiences will become actively involved in the spaces, hotels, pubs and petrol stations across delivery of Galway 2020. Volunteers will be given Galway and audiences will be able to experience a sense of ownership of projects through activities the project TAKE MY SEAT p54 while taking a as broad as event co-ordination, communications bus to Dublin or the project SEA TAMAGOTCHI and ambassadorial hosts. Example The p52 while taking a stroll on the beach! planned ‘European Citizen Broadcasting’ project will empower citizens to move from AN ARTIST IN EVERY PLACE p32 is a full passive audiences to extended members of programme of projects which will involve artists the Galway 2020 communications team. co-creating work with members of the public in unexpected places which prompt citizens We will seek to develop a sustainable online to take a break from the flow of their everyday community of citizens to facilitate an ongoing lives to experience culture in businesses, two way dialogue between cultural organisations, churches, schools, boats, farms and hotels. artists and audiences over the next four years. Example Galway 2020 will develop a custom mobile application, web platform, broadcasting channel and community forum.

Capacity to Deliver & Outreach 81 Fundamental to Galway’s plans to becoming 5.8.5 DOWNSTREAM a Virtual Capital of Culture is our mission to remove virtual barriers and empower Eager to build lasting relationships with audiences audiences around the world to remotely over the coming years, Galway will place experience and participate in cultural events. particular focus on maintaining an ongoing dialogue with audiences after events. This will be Galway wants to revolutionize the way in which a significant contributor to the legacy of Galway audiences remotely experience cultural events by 2020 and will inform the Cultural Strategy. This immersing them in 360’ virtual environments as if will be enabled in an online context through they themselves were actually at the live event. a dedicated Galway 2020 mobile application, Through the use of emerging virtual mediums digital platform and community forum. Galway wish to remove the barriers of active participation in culture for those who cannot More powerfully, the ability for audiences to physically attend events (older generations, physically meet with artists and producers after disabled, geographically distant) and those who events will be ensured through a series of debates, may feel intimidated by attending in person. workshops and discussions built into post event activity timelines. Example: citizens across Galway Galway has ambitious plans to empower audiences will be invited to meet and debate with directors throughout Galway and Europe to remotely from around the world who are showcasing work participate in live events by actively dictating as part of the Peripheral Visions film festival. aspects of live performances. The growing trend of building ownership and confidence of 5.8.6 STRATEGY DEVELOPMENT AND EVOLUTION audiences through participatory arts has inspired Galway to go one step further by opening up Galway 2020 will commence a period of listening mass participation on a global scale through and data mapping in 2017. The activities will focus digital means. Example Audiences across Europe on building an evidence base for the development will be invited to actively participate and dictate of a coherent strategy of honest feedback from a aspects of live non-linear narratives using diverse range of audiences and non-audiences. emerging interactive and sensor technologies Listen and Learn 1 Data Mapping as part of the project INTERACTION p39. Existing Audiences (2017) Galway plans its audience development strategy An intense listening and data mapping exercise with projects which are relevant and which are will be carried out with existing cultural aligned to their experience of audiences. audiences in Galway to learn more about their motivations, experiences and expectations. Galway 2020’s artistic programme has been intentionally designed to be inter-disciplinary and Listen and Learn 2 Data Mapping non-art form specific. This cross-sectoral approach Non Audiences (2017) has already opened up entirely new audiences This initial listening exercise will be followed up to cultural participation. The continuation of this with a county wide mapping exercise of citizens approach through the production and delivery of who do not engage in any way with culture. the programme is important to Galway’s planned audience development strategy. Examples Plan Finalisation of Audience Visual Artists will work alongside scientists at the Development Strategy (2018) Marine Institute of Ireland to reflect on a history Based on the feedback from the mapping of experimental marine radio communications exercise carried out throughout 2017, our audience development strategy will as part of the project ARIAL SPARKS p33. Young theatre makers will work with game designers be refined and optimised in 2018. and technologists as part of the interactive Implement the Audience Development immersive theatre project INTERACTION p39. Strategy (2018–2022) Sound Artists will work alongside local bus companies to develop a series audio stories Measure Monitoring and Evaluation as part of the project TAKE MY SEAT p54. Programme (2018–2026) A full monitoring and evaluation programme designed specifically to track the impact of the audience development activities will be rolled out as part of the Galway 2020 monitoring programme.

Iterate and Repeat (2018–2026) Periodic performance reviews based on feedback from the evaluation and monitoring programme will inform iterations in the strategy over the period 2018–2026.

82 Galway 2020 / Bid Book Two 5.8.7 EDUCATION AND SCHOOLS IMMERSIVE CLASSROOM p59 This project will develop bespoke micro- All our programmes will be specifically planned curricular digital and artistic programmes to to ensure that where there is an appropriate target increased digital literacy in schools using application for children and youth that this will immersive technologies. Interaction is the key to be exploited to the full. From Early Years to Third any digital experience and the goal is to augment Level we will ensure that no demographic is students’ engagement with digital technology excluded. Dedicated members of the Galway throughout Ireland and Europe. Students will 2020 team will have specific experience, training cultivate a host of sustainable digital skills where and responsibility to deliver this priority. We are they will design and create culturally significant guided in our work with children and youth by the immersive experiences inspired by their lives, tenet that the best cultural experiences involve language and landscape. Training courses will be making and doing as well as looking and listening. developed for teachers working in classrooms Education and Schools Projects and an online environment with students. The Over the last 12 months Galway 2020 has placed project will develop and integrate immersive a special emphasis on developing projects which technologies into teaching and learning activities will facilitate participation by students across and will culminate in 2020 with an international primary secondary and third level educational immersive world's exhibition and symposium. institutions. p59 THE IMMERSIVE CLASSROOM SYM-PHONIC WAVES p59 will see students across Ireland combine digital This project will create a sustainable music literacy skills and creative thinking to create art education legacy for young people in Galway using virtual and augmented reality mediums. The by developing a new Western Symphonic Youth National University of Ireland Galway has designed Orchestra (WSYO), linking with three established a full programme of independent projects, youth orchestras in Germany, Finland and festivals, conferences and outreach activities that Scotland and a professional orchestra in Ireland, will be rolled out across their campus in 2020. up-skilling music teachers through an online Children and Youth Projects continuing professional development programme, An additional suite of projects have been hosting an international competition for new specifically designed for children and youth works and culminating in a series of large scale audiences in out of school environments. performances and recordings by WSYO together with European partner orchestras and choirs. HY BRASIL p58 will see children across Galway create a new society and a new island engineered Institutional Involvement by the imagination of our children. HOPE IT We are already working with The Department of RAINS p34 will be a year-long celebration of the Education and Teacher Centres in our region to rain with rain dances, rain based playgrounds maximise the impact of our work with children. and interactive rain projects for children We are particularly aware of the need to offer taking place across Galway. AN ARTIST IN regional leadership with the Implementation EVERY PLACE p32 and SMALL TOWNS/BIG Body of The Arts and Education Charter, a IDEAS p34, two of our widespread community recent national initiative by The Departments programmes, will have specific projects of Arts and Education with the Arts Council. designed with and for children and youth both Our approach to provision for children and in schools and as extra-curricular projects. youth is in synch with the Cultural Strategy.

Training and Child Protection All artists and Galway 2020 team members who will work with children and youth will have special training to ensure that they have appropriate pedagogical and communication skills for their work. They will also be required to undergo police vetting procedures. The highest standards of Child Protection will be assured in our Child Protection Guidelines.

Capacity to Deliver & Outreach 83 6. MANAGEMENT

84 Galway 2020 / Bid Book Two 6.1 What has been the annual budget for 6.3 Which amount of the overall annual budget culture in the city over the last 5 years does the city intend to spend for culture after (excluding expenditure for the present the European Capital of Culture year (In Euros European Capital of Culture application)? and in % of the overall annual budget)?

We intend to increase incrementally the annual Annual Budget for Annual Budget Culture in the City (in budget for culture over the course of the ECOC for Culture in the % of the total annual process and maintain an overall increase of 15% Year City (in euros) budget for the city) for 2021 and beyond. This 15% would equate 2012 €3,042,202 3.98% to an increase of €695,000 in combined city & county annual cultural spend. This will allow the 2013 €3,032,853 3.82% continuation of our capacity building programme and support the delivery of planned legacy. 2014 €3, 537, 623 4.40% Through discussion with the corporate sector, we 2015 €3,593,547 4.73% are confident that there will be significant strategic interest in the development of long-term flagship 2016 €3,688,817 4.81% cultural programmes and events that could be launched across and beyond ECOC (See 6.10) In addition to the annual budget of the city, the County annual budgets over As part of the Cultural Strategy, we will the last 5 years are as follows: explore new financing models to develop new funding for cultural activities in the 2012 €875,000 City, County and Islands (See 2.1)

2013 €915,000 6.4 Operating budget for the title year.

2014 €880,000 See 6.5 below

2015 €922,000 6.5 Please explain the overall operating 2016 €943,250 budget (i.e. funds that are specifically set aside to cover operational expenditure). 6.2 In case the city is planning to use funds The budget shall cover the preparation from its annual budget for culture to finance phase, the year of the title, the evaluation the European Capital of Culture project, and provisions for the legacy activities. please indicate the amount starting from the year of submission of the bid until Total Budget €45,750,000 the European Capital of Culture Year. Public Sector €39,000,000 The Local Authority element of the financing of Public Sector % 85.25% the ECOC project is additional funding provided over and above the existing allocation for culture. Private Sector €6,750,000 Rather than displace any of this existing funding which would negatively impact on core current Private Sector % 14.75% cultural provision, the Council’s plan to provide an additional €12m to fund the ECOC. Given that 6.6 What is the breakdown of the income the bulk of the funding from national government to be received from the public sector and private sector funding will most likely be to cover operating expenditure? received in 2019 and 2020, it is anticipated that a greater proportion of the operating budget will Income from Public fall to be funded by the local authorities over Sector to cover operating expenditure € % the earlier years. Therefore, it is expected that the budget profile will be broadly as follows: National Government €15,000,000 38.46%

City & County €12,000,000 30.77% 2016 €1,000,000

Region €3,500,000 8.97% 2017 €4,200,000

EU €3,000,000 7.69% 2018 €3,000,000

Other €5,500,000 14.10% 2019 €1,000,000

Total €39,000,000 100.00% 2020 €2,300,000

2021 €500,000

Management 85 6.7 Have the public finance authorities (City, Galway 2020 has ensured that potential and Region, State) already voted on or made realistically achievable EU funding partners and financial commitments to cover operating programmes are identified with cultural producers expenditure? If not, when will they do so? as an integrated part of project development. We are cognisant of other ECOC’s experiences where The local authorities have confirmed commitments projected funding from Union programmes has to supporting the ECOC for Galway 2020 based not materialised. We have therefore sought to on the programme, delivery strategy and funding construct a robust and resilient model based on architecture set out in this bid book. Approval for a prudent and cautious approach to estimating this Galway 2020 bid was passed by resolution potential funding from EU programmes. at the monthly meetings of Galway City Council and Galway County Council held on May 16th, Key identifiers within the development of and May 23rd, 2016 respectively. National projects around creativity, education, citizen Government has confirmed the commitment of engagement, industrial leadership, societal €15m to the city that is awarded the ECOC title. change, heritage and preservation of public space should ensure eligibility to access funding 6.8 What is your fund-raising strategy to seek from EU programmes such as Creative Europe, financial support from Union programmes/ Horizon 2020, Erasmus+, Europe for Citizens, funds to cover operating expenditure? LIFE, INTERREG and Northern Periphery & Artic.

The consultation process for the City & County It is also our intention to build capacity for Cultural Strategy identified that lack of national and cultural producers and organisations to be more regional match-funding mechanisms represented effective in accessing EU funding, and we have a significant blockage to certain sectors in active commitment from the Western Development participation in European funding programmes. Commission and the Northern and Western Galway 2020’s engagement process with the Regional Assembly in implementing this process cultural sector also highlighted the strength of through advice and support programmes. the audiovisual and children’s cultural sectors, scientific research and innovation sector and youth sector in accessing EU funding. The City & County Councils, as part of the Cultural Strategy will investigate core match-funding models for EU projects. It also proposes the establishment of an ‘EU help desk’ to enable and ensure training, participation, and project collaboration in European projects for underrepresented sectors.

EU Programme Sub-Programme What does it support? Projects

Creative Europe Culture Co-operation Projects. -- Govern Dance Platform of work in minority languages. -- Crossing the Lines -- Aistriú

Media Training. -- VR Story Studio Distribution & Exhibition. -- In The Thick of It -- Peripheral Vision

Erasmus+ Co-operation and exchange. -- Crossed Wires Cultural placements. -- An Artist in Every Place Support for policy reform.

Europe for Citizens Promotion of active citizenships. -- Small Towns, Big Ideas

Horizon 2020 Industrial Leadership Leadership in enabling and -- Hope It Rains industrial technologies.

SME Instrument Cultural heritage, innovation to grow -- Monument and cross traditional boundaries. Europe in a Changing World.

LIFE Resource Efficiency Creation of Integrated Project. -- Small Towns, Big Ideas Sustainable urban plan. -- A Place Goes Wild Better integration and implementing of EU environmental legislation.

86 Galway 2020 / Bid Book Two 6.9 According to what timetable should the income to cover operating expenditure be received by the city and/or the body responsible for preparing and implementing the ECOC project if the city receives the title of European Capital of Culture? Please fill in the table below. (This question is optional at pre-selection stage)

Source of Income for 2016 2017 2018 2019 2020 2021 operating expenditure € € € € € €

EU - 300,000 500,000 500,000 1,500,000 200,000

National Government - - - 9,000,000 6,000,000 -

City 1,000,000 4,200,000 3,000,000 1,000,000 2,300,000 500,000

Region - 750,000 500,000 1,100,000 1,150,000 -

Sponsors - 750,000 1,500,000 1,750,000 2,700,000 50,000

Other - 500,000 750,000 2,000,000 2,000,000 250,000

6.10 What is the fund-raising strategy to seek Ireland does not have a well developed corporate support from private sponsors? What is the philanthropy/sponsorship culture, and we plan for involving sponsors in the event? are acutely aware that beyond 2020 there will be real need for the corporate sector to be Galway city and county has a very strong and a part of the cultural economy of Galway. diverse commercial sector with businesses ranging from internationally recognisable brands In asking the private sector to ‘BE Galway 2020’, in the ICT and Medical Device space, through we have set out a wide range of funding options, large scale indigenous companies enjoying and a tiered structure for various levels of support significant international success, and incorporating providing appropriate entry points for companies a vibrant, creative and energetic SME sector. To of all sizes. We have designed financial support put Galway’s role as the economic engine for the packages set to reflect scale of contribution and region in perspective, Galway is home to one of level of brand association, while also providing for the world’s leading Medical Technology clusters, ‘Champions’ to attract various large scale sectoral providing employment to over 8,000 people. In players for example Media Partner, ICT Partner, terms of global performance, ten companies in Communications Partner, Hospitality Partner etc. Galway export €8 billion of goods annually. Galay Club/Other We have had widespread and unequivocal expressions of support from across all of the Category Champion business sectors, and have established a dedicated Value c. €500,000

Business Engagement team to optimise this Main/Title Sponsors goodwill and work on converting it into tangible Value c. €1m support for Galway 2020. As a concrete example of support, Galway businesses have shown real We feel that to reflect the genuine expression of leadership by voluntarily accepting a 3% increase support from the business community, it is critical to in their Commercial Rates (business property have a structure that will accommodate and build tax) and this will create a revenue stream for a truly representative and cross-sectoral funding the local authority of some €1m per annum. and engagement model. In addition to showing widespread positivity and backing for Galway 2020 from our business community, on a pragmatic level, 6.10.1 ‘BE GALWAY 2020’ having a broad funding base is also more robust, Drawing on previous experience in private and mitigates the risk of funding not materialising sector engagement for large-scale international from any one source. A wide spread of engagement cultural programmes, the team has assembled by the corporate sector is far preferable than a comprehensive Business Engagement having access to a few large contributors. programme which has been branded as ‘BE To support the work of the BE Galway 2020 team, Galway 2020’ [Business Engaging for Galway a Business Leadership Team, comprising key 2020]. Underlying our fundraising strategies is a figures from across the business community, subtle attempt to change behaviours and build has been set up to act as a networking and future opportunities for the cultural sector. outreach group. A corporate engagement promotional video has also been produced.

Management 87 6.10.2 HIGH LEVEL CORPORATE ENGAGEMENT Programming at the MedTech museum will be developed to target all sectors of the general Since its establishment, the BE Team has held a public, across all generations, age groups and large number of meetings and briefings with all of socio-economic backgrounds, as well as patient the key business representative groups in order groups through a variety of MedTech scientific to promote and encourage engagement with and art science programmes and exhibits. The the Galway 2020 project. These groups include museum would engage with Galway’s vibrant the Chamber of Commerce and other Business artistic and scientific community through residency Associations, the Irish Hotels Federation, the IT programmes, open calls for engagement initiatives Association of Galway, and the Medical Technology and targeted schools activities. The proposal has group. In addition, the team has already had ignited significant excitement and interest across over 30 meetings with individual companies the various organisations and sectors involved, across all sectors, and significant, advanced and we believe that as the project progresses, discussions are in train with firms in Banking/ it will act as an example and inspiration to the Finance, ICT, Internet Service Provision, Medical corporate sector, leading to further initiatives Technology, Hotel/Hospitality, Transport/Airports, and increasing the long-term legacy value and Media. The response to this interaction has to Galway as European Capital of Culture. been very positive and it is estimated that support in the order of €3–4m is accessible through engagement with the larger-scale partners. 6.10.5 OTHER INITIATIVES Bed Night Cultural Top Up 6.10.3 2020 CLUB This initiative, which involves the inclusion of a one- euro charge per room per night, will deliver a strong In parallel with the creation of partnerships with income stream over the lifetime of the project. The large scale corporations, the team has also scheme is currently under negotiation with the launched the ‘2020 for Galway 2020 Club’. This is hotel sector, and based on the hotel capacity and designed to provide an accessible and affordable occupancy rates across the City and County, as a entry point for smaller businesses and individuals conservative estimate, a 50% sign-up rate from the to become involved and provide financial support sector would yield a fund of €550,000 per year. for Galway 2020, while being part of a branded initiative which will, in return, provide business Merchandising and Licensing networking opportunities and access to certain The approach will include one-off fee Galway 2020 events, and other opportunities. charging for the application of bespoke branding etc to a percentage of licensed An online portal has been set up to provide products sold across the year. easy registration, and based on feedback from the business community, we believe this Philanthropic/Diaspora will be a substantial source of private sector Galway 2020 has made contact with Irish Diaspora income in the lead-up to 2020. There are two organisations internationally, and particularly main options under the scheme, the first is to in North America, as well as engaging expert contribute a total of €2020 on a phased basis advice in philanthropic fundraising. Given the over four years (i.e. €505 p.a), while the second initial strong support shown from the Irish is to contribute a total of €8080 over the same community abroad for the Galway bid, we are four-year period (i.e. €2020 p.a). The target is to confident that there is scope for substantial get 2,020 businesses/individuals to contribute; funds to be raised from philanthropic sources. however, taking a prudent approach and allowing for a lower rate of subscription, we are We are aware that all of the above work-streams fully confident that the scheme will generate require a significant investment of time and in the region of €3m in the lead-in to 2020. resources, and this work will come under the remit of a dedicated Business Engagement team, which will be formed if the Galway 2020 6.10.4 LEGACY VISION bid is successful. We see the management of As well as the more traditional forms of corporate corporate engagement at all levels and effective involvement and support, which, by their nature servicing of sponsorship contracts as critical in often relate to the short-term, there have also optimising the ongoing private sector support. been discussions around large scale and longer The BE team will work closely with the Marketing term projects and initiatives which have been & Communications team to ensure that national inspired by the Galway 2020 bid. A proposal for a and international coverage for Galway 2020 is ‘Medical Technology Museum’ has been initiated used strategically to support the private sector by the National Centre for Research in Medical funding efforts. Substantial progress has been Devices (CURAM), NUI Galway, and Medtronic, made by the team to date and a full update will with support from the broader Medical Technology be available for the Jury Panel presentation. sector, Local Authority, and other interested parties in consultation with the Galway 2020 team.

88 Galway 2020 / Bid Book Two 6.11 Please provide a breakdown of the operating expenditure

Total of the Programme Programme Promotion & Promotion & Wages, overheads Wages, overheads Operating expenditure expenditure Marketing Marketing & administration & administration Expenditure

€33,397,500* 73% €5,490,000** 12% €6,862,500 15% €45,750,000

* The programme expenditure figure above represents the NET cost to Galway 2020.

**The Promotion & Marketing budget described above will be supplemented by in-kind marketing benefit from our supporters, strategic partners & producers.

6.12 Planned timetable for spending operating expenditure

Timetable Wages, Wages, for Programme Programme Promotion Promotion overheads & overheads & spending expenditure expenditure & Marketing & Marketing administration administration

2016 €100,193 0.30% €329,400 6.00% €446,063 6.50%

2017 €4,842,638 14.50% €658,800 12.00% €857,813 12.50%

2018 €4,174,688 12.50% €823,500 15.00% €1,098,000 16.00%

2019 €7,247,258 21.70% €1,756,800 32.00% €1,647,000 24.00%

2020 €16,364,775 49.00% €1,592,100 29.00% €1,990,125 29.00%

2021 €667,948 2.00% €329,400 6.00% €823,500 12.00%

€33,397,500 100.00% €5,490,000 100.00% €6,862,500 100.00%

6.13 What is the breakdown of the income to be 6.15 What is your fund raising strategy to seek received from the public sector to cover capital financial support from Union programmes/ expenditure in connection with the title year? funds to cover capital expenditure? Capital Expenditure is aligned to our Cultural Strategy rather than in connection with See 6.13. the title year as planned infrastructure is seen as something we should be providing 6.16 According to what timetable should anyway as referenced in 2.1.1 and 5.2. the income to cover capital expenditure be received by the city and/or the body 6.14 Have the public finance authorities responsible for preparing and implementing (city, region, State) already voted on or made the ECOC project if the city receives the financial commitments to cover capital title of European Capital of Culture? expenditure? If not, when will they do so? See 6.13. See 6.13. 6.17 If appropriate, please insert a table here that specifies which amounts will be spent for new cultural infrastructure to be used in the framework of the title year.

See 6.13.

Management 89 6.18 What kind of governance and delivery 6.18.2 THE COMPANY structure is envisaged for the implementation of the European Capital of Culture year? A company limited by guarantee and not having a share capital has been incorporated under the Companies Act 2014 with the title – Galway Cultural 6.18.1 GUIDING PRINCIPLES Development and Activity Company Limited by Our intention is to provide a governance Guarantee. It is registered in the Companies office and management structure that is: – Registration Number 576394. The Company is already trading and will be the legal structure used ~~ an example of best practice of governance to undertake all Galway 2020 activities from now ~~ not for profit until delivery of the 2020 ECOC. The Trading Name – Galway 2020 – has been formally registered and ~~ truly representative of wide interests the Company will be known as ‘Galway 2020’. ~~ robust and legally coherent It is a not-for-profit company with a ~~ straightforward, transparent and effective membership of not less than seven Members. ~~ independent of political and other influences The Members elect/appoint a Board of ~~ acceptable to all stakeholders and the ECOC Directors of not more than 15 Directors. ~~ accountable at every level The Members of the Company are all well The following organogram 6.18a illustrates the established and respected individuals in spheres of anticipated organisational structure to be employed culture and business. The Local Authorities have no by Galway 2020 in delivering the 2020 ECOC. right to be represented in the membership either through elected representatives or officials although As was anticipated in the first bid-book, Galway as of now it is considered important that the Chief 2020 has now incorporated a new independent Executives of Galway City Council and Galway corporate structure to manage our bid, and if County Council be two of the seven members. successful, it will be the delivery mechanism for Galway 2020. Our Steering Committee continues to provide invaluable advice to our work.

6.18a Organisational Structure

orum of Cultural Galay orum of Regional Advisors oard of Directors artners

Sub-Committees/oring Groups eg innce udi unicins Monitoring & Evaluation eginl iensin usiness ied u indeendenl i nggeen CEO esig d iee

Creative/Artistic Communications Director of inance Director Director R & Administration

Programme Production Audience Communications Virtual Capital Finance HR & Business Co-ordinators Manager & Development & Events Team of Culture team Admin Team Engagement Technical Co-ordinator includes ulic HRM, Oﬃce Team Manager nggeen g ccuns enl unding ll ie ec

Cultural Produers Partners

olunteers

90 Galway 2020 / Bid Book Two 6.18.3 BOARD OF DIRECTORS 6.18.5 WORKING GROUPS/SUB-COMMITTEES

The Board of Directors will comprise up to 15 In order to provide the Board with the range Directors, including a Chairperson. Directors will of expertise which will be needed to deliver be appointed to ensure an appropriate balance Galway 2020, a series of working groups/sub- of skills and expertise in the areas of culture, committees of the Board will be established management, governance, finance, marketing, as required which may include for example: business, tourism, evaluation and European affairs. ~~ Programming The Board of Directors is the body responsible ~~ Finance and Audit for running the Company on a day-today basis. It will be responsible for: ~~ Marketing and Communications ~~ European Liaison ~~ the employment of senior executives to the company; ~~ Regional Cultural Strategy ~~ establishing, and ensuring the implementation ~~ Fundraising and Sponsorship of, strategic policy objectives based ~~ Data and Legacy upon the programme and financial ~~ Virtual Capital of Culture projections contained in this bid book; Each of these sub-committees will be appointed ~~ ensuring the highest standards of by the Board to ensure the broadest range of governance and transparency; expertise is available to the Company in each ~~ appointing sub-committees/working groups specialised area. Each sub-committee with include (see 6.18.5) to ensure that the Company has up to two Directors from the board and will be access to the broadest range of specialist chaired by one of them. The Chair of the sub- expertise and advice in all aspects of its committee will be responsible for reporting on its work and delegating to the sub-committees activities on a timely basis to the Board. The Board such decision making powers as are will delegate such powers as are prudent to the considered effective and prudent; sub-committees but any decision of the sub- ~~ accounting fully for its activities at the end committee, especially with regard to budgetary of Galway 2020 and in particular providing matters, that exceed the limits established by leadership and continuity towards maximising the Board, must be referred back to the Board the legacy benefits of the year of culture. for decision. A senior member of the Executive Team will be given responsibility for providing In order to ensure appropriate connection executive services to each sub-committee. between Galway 2020 and Galway City and County Councils, the Chief Executives of both Councils will each have power to appoint one 6.18.6 FORUM OF REGIONAL REPRESENTATIVES Director of the Company and they are free An advisory group will be formed to channel to appoint themselves to these positions. the views of our Strategic Partner Counties but It is also intended that two Directors of it shall not have decision making powers. the Company will be European and be experienced in corporate governance of 6.18.7 FORUM OF CULTURAL ADVISORS organisations such as Galway 2020. A forum comprised of established local arts interests will be created to advise the board on 6.18.4 THE CHAIRPERSON local cultural issues. This forum will be advisory The Chairperson of the Company will be critically in nature and will not have decision making important as a public representative of the powers. It will be distinct from any formal cultural Company in all its activities. He/she will provide Sub-Committee/Working Group that the Board leadership for the Company in the exercise of its may form as part of its formal structure. duties and the implementation of policy and will be a vital bridge between the Board and the Executive. 6.18.8 AUDIT MONITORING AND EVALUATION

In addition to the usual statutory requirement for annual auditing of the Company, it is intended that the Company, at all levels, will be subject to independent review by the Insight Centre for Data Analytics at NUIG, being the Company’s chosen independent monitoring and evaluation body (see 2.4).

Management 91 6.19 How will this structure be organised at 6.20 How will you ensure that this structure management level? Please make clear who will has the staff with the appropriate skills and be the person(s) having the final responsibility experience to plan, manage and deliver the for global leadership of the project? cultural programme for the year of the title?

The constitution of Galway 2020 allows for the Based on the arguments in 6.19 we will appoint appointment of up to two Chief Executives (one a CEO with final responsibility for the global for organisational management and one for leadership of Galway 2020. This CEO will be artistic/creative direction). We have researched employed by and be answerable to the Board. the approach to the appointment of senior The CEO, as leader of the management team, will management adopted by various past and be responsible for arranging the recruitment of prospective ECOCs. Where the appointment of all other personnel. In the case of the Creative/ a Creative/Artistic Director, as the person with Artistic Director, the CEO will involve the final responsibility for global leadership of the Board in this recruitment and decision making project was used, there seems to have been a process. The Creative/Artistic Director will range of debilitating challenges arising from such have discrete responsibility for the delivery of appointments and a very high turnover of personnel the programme so long as she/he adheres to in those roles, resulting in loss of momentum, budgetary and human resource provisions and uncertainty within creative and management teams that they observe the programming structures and unnecessary cost. Unlike major international laid down in this bid book. In all other respects arts/cultural festivals which seek to have one they will report to the CEO. The attributes, individual design and implement the entire event skillsets, and responsibilities of the CEO and the with a singular vision and brand, we believe that the Creative/Artistic Director are detailed in 6.22. scale and range of activities anticipated by Galway 2020 may not be best served by this approach. A team of senior specialist managers/ co-oordinators will be appointed to manage Given that up to 70% of the programme is various departments within the organisation. already articulated in this bid book, it seems more appropriate that Galway 2020 will Clear skills attributes, job descriptions and engage as its CEO, an individual who has implementation schedules will be drawn up for broad organisational/financial/management each position in advance of their appointment and skills in the cultural sector. This CEO will bear these will become an integral part of their contracts overall responsibility for global leadership of of employment. Provision will be made for training, the project. It is intended that this position will upskilling and capacity building as appropriate be internationally advertised immediately, during the years leading up to 2020. Employment in the event of our bid being successful. policy for all management positions will be based on a transparent public advertisement basis and The management of the artistic programming best practice in Human Resource Management will will best be served by the selection of a Creative/ be applied to the recruitment process and to the Artistic Director who will have discrete responsibility contracting and maintenance of all employees. for delivering the cultural programme (70% of which is defined in this bid), subject only to the In developing and implementing our strategy budgetary and human resource provision available for engaging a team to deliver Galway 2020 we for her/his work. The Creative/Artistic Director will be ever mindful of the enhancement we may delegate responsibility for certain aspects will be making in the cultural management and of the programme to sectoral specialists. organisational infrastructure of Galway and the Region and the legacy implications of this for As is evident from the organogram at 6.18.1, sustaining the long term impact of Galway 2020, a small group of senior Directors (number and and the implementation of the Cultural Strategy. titles/responsibilities to be determined) will be engaged to structure and manage a series of specialist departments to deliver every aspect of the Company's work. This Directorate together with the CEO will be the senior management team.

We are especially aware that in the event that our bid is successful, there will be a significant immediate challenge to the organisation in terms of managing expectation and making arrangements for the engagement of key personnel. In this regard, and not wishing to be presumptive, we have in place a strategy to deal with the period from July to (approx.) December 2016, from the points of view of management and communications.

92 Galway 2020 / Bid Book Two 6.21 How will you make sure that there The Creative/Artistic Director will be appointed is an appropriate cooperation between once the final selection process has been the local authorities and this structure concluded. The profile of this person will be: including the artistic team? ~~ Artistic, cultural background with a strong As referenced at 6.18.3, both Local Authority Chief proven track record in delivery of international Executives have the power to appoint one Director cultural events and programmes of the Company and therefore have a formal ~~ Skills and experience with process and relationship with the Company. In addition the project planning, design and execution executive teams of Galway 2020 will be aligned with the respective local authority departments for ~~ International competencies logistical and service delivery of the programme. ~~ Good communicator and skilled negotiator The strength of the collaboration between the ~~ Strategic thinker various stakeholders was strengthened in phase 2 of our bid and demonstrates the shared focus ~~ Inspire teams to ensure successful delivery of the project. ~~ Experienced in team management

In addition, the establishment of the Forum ~~ Accepting of programmatic plans of Regional Representatives (6.18.6) will already committed in bid book capture the views of our Strategic Partners. 6.23 Have you carried out/planned 6.22 According to which criteria and under a risk assessment exercise? which arrangements have the general In order to carry out a risk assessment on this director and artistic director been chosen project, KPMG and a number of stakeholders – or will be chosen? What are – or will were brought together in a workshop to identify be – their respective profiles? When will potential risks and the mitigating actions they take up the appointment? What will required. These stakeholders included the be their respective fields of action? Galway International Arts Festival, the production The CEO (general director) and Creative/ manager of major international events, and Artistic Director positions have not been representatives from the financial and hotel appointed. Once the final designation is made, if sectors. The initial Risk Management exercise successful, Galway will immediately undertake contained in the first bid book has been reviewed a recruitment campaign for both positions. and updated to reflect consideration of the panel’s comments, as well as amendments required We are committed to the principle of open as the project has developed. Furthermore, recruitment. Both positions will be filled by in the preparation of the detailed programme open recruitment on an international basis. and related budgets, a prudent and balanced approach to financial risk has been employed. The CEO (general director) will have an understanding of and commitment to the value of large-scale cultural projects as well as:

~~ Administrative, financial and/or legal background ~~ Experience of working in a dynamic and culturally oriented organisation ~~ Ability to co-ordinate and inspire teams ~~ Experience of managing large, complex projects ~~ Practical understanding of political systems ~~ International competencies ~~ A good communicator, adept at defining strategies for communication, marketing and financing of cultural events ~~ Proven capability to inspire teams ~~ Knowledge of European cultural programmes ~~ Skills to work with high level Chairperson and Board of Directors

Management 93 Impact Likelihood Risk Risk Mitigation (1–4) (1–4) (1–16)

Cultural Contribution to the long-term cultural strategy – Strategy To develop a cultural strategy for Galway, which covers the action and includes plans for sustaining the cultural activities beyond 2020.

Failure to strengthen the Implement planned 2016-2020 3 1 3 capacity of the cultural cultural capacity-building programme and creative sectors.

Failure to sustain the cultural Ensure Galway’s 2020 legacy 3 1 3 activities beyond the year strategy is integrated into all of the title and securing the programmes and projects and projects intended legacy. adequately resourced in all budgets

Failure to deliver a diverse Ensure clear artistic vision 3 1 3 coherent artistic vision and strategy in place and strategy for the cultural programme

Failure to involve European artists Ensure European and Irish artists 4 1 4 and cultural organisations in the and organisations are involved in the conception and implementation conception and development of the of the cultural programme. cultural programme and projects

European European dimension – To promote the cultural diversity of Europe, intercultural dialogue and greater mutual understanding between European citizens.

Failure to promote the cultural Ensure comprehensive multicultural 4 1 4 diversity of Europe and to and european marketing therefore attract the interest communications strategy in place of a broad European and international community.

The programme doesn’t have Ensure European themes, artists 4 1 4 sufficient focus on the European and partners are integral to every partnership involvement project in the cultural programme

Stakeholder Stakeholder – To ensure all relevant stakeholders are involved to enable the Board to deliver a successful programme.

There is insufficient buy-in from Develop a comprehensive 4 2 8 the relevant stakeholders to Stakeholder Management Plan. the proposed programme

The reputational damage Maintain and build on Galway’s track 4 1 4 to stakeholders of any record of successful stakeholder perceived lack of success engagement in the delivery of large and reputational damage to scale national and international events. Galway’s inherent ability to plan and deliver large scale national and international events.

Failure to gain political support Ensure our comprehensive 4 2 8 Stakeholder Engagement Plan effectively uses established local, regional and national government structures to secure optimum political buy-in and engagement.

Failure to attract a diverse Ensure comprehensive multicultural 3 1 3 local, national, european and and european marketing international audience. communications strategy in place

Capacity Capacity to deliver – to Deliver To ensure the Board have the necessary resources available to enable the Board to deliver a successful programme.

Any necessary infrastructure Programme based on existing 3 2 6 is not achieved/ in place infrastructure with contingency. Time based risk management plan on every project for any additional temporary infrastructure required.

The appropriate management Maintain and build on Galway’s track 3 2 6 structure is not in place to deliver record of successful stakeholder multi-cultural european activities. engagement in the delivery of large scale national and international events.

94 Galway 2020 / Bid Book Two Impact Likelihood Risk Risk Mitigation (1–4) (1–4) (1–16)

Financial Financial Management – To maximise potential Private Sector, Local, National and European income streams. To ensure there is a robust financial Management system in place to achieve accountability and best value with accurate cost projections and no cost over-runs.

The various funding streams Proposed budget is sufficient to 3 2 6 are insufficient to deliver the cover planned cultural programme programme as described in and any additional elements will the Bid Book and meet our be subject to prior confirmation of contractual requirements to ECOC additional finance. A comprehensive funding and fundraising strategy which includes multi-sourced funding and a comprehensive cashflow model will be in place.

Governance Governance– To ensure good governance enables the pursuit of the Board’s objectives combining robust systems and processes with effective leadership and high standards.

Failure to achieve good Ensure a comprehensive, robust 3 1 3 governance in delivering a and adequately resourced multi-cultural european event. governance culture and structures (to include risk management and audit processes) are in place.

Safety Fire Emergency, Major emergency, Health and safety – To ensure there are robust plans in place to minimise the risk of accidents/incidents

Failure to ensure public The event management plan will 4 2 8 safety at events. ensure all events are delivered in a safe and responsible manner, with competent personnel specifically employed to undertake agreed key management, safety and statutory responsibilities. Each event will have a specific event management plan in place alongside the overall strategy.

6.24 What are the main strengths and weaknesses of your project?

A high level SWOT analysis has been carried out for the project (please see table below). This will be further developed to form the basis of a comprehensive management & reporting structure as set out in 6.25.

Strengths Weaknesses

-- Level of engagement from Cultural -- Poor track record of accessing EU funding organisations; public & business sector -- Other tourism events running in parallel could -- Regional support from relevant agencies and pose accommodation capacity issues firmly established regional partnerships -- Lack of knowledge of technological advances in 2020 -- Excellent physical infrastructure -- Systems/processes within the various -- Local Governmennt fully committed to programme organisations e.g. licensing, road closures etc. and political buy-in at local & regional level -- Galway has an inherent cultural identity and proven track record in hosting large scale international events -- Unconventional infrastructure solutions

Opportunities Threats

-- Opportunity to take the already vibrant -- Political instability – local elections prior to 2020 Galway brand to a higher level -- Relationship between Public and Private -- Strengthen further the local cultural sector and build sector and other stakeholders on the highly successful community engagement -- Dominance of existing players in the cultural sector -- Promotion of the region for investment -- Inability to raise sufficient finance -- Economic boost to the creative sector -- Other international events planned for 2020 -- Use of existing infrastructure and spaces in a creative way -- Other events attracting the interest of the -- Creation of a European cultural legacy management structure therefore impacting organisation performance and governance -- Collaboration with the European Region of Gastronomy project

Management 95 6.25 How are you planning to overcome 6.26 Could your artistic programme weaknesses, including with the use be summed up by a slogan? of risk mitigation and planning tools, contingency planning etc? MAKING WAVES

It is planned that a fully integrated risk-based Making Waves will work effectively and oversight framework and reporting structure will provocatively as a slogan but might be at the heart of the formal arrangements for also be used as a motif or wraparound reporting to the Board of Directors. International in specific contexts. For example: experience has clearly shown that a fully informed Board, given relevant, accurate and timely ~~ Making Waves Across Europe. information in order to make effective decisions is ~~ Making Waves for children's cultural rights. a prerequisite for sound Corporate Governance. To this end, a monthly update on the Principal ~~ Making waves about direct Risks and Uncertainties will be presented to provision for Asylum Seekers. the board to keep directors fully appraised ~~ Making waves together. of progress, related risks, and the associated management and mitigation measures in place. 6.27 What is the City’s intended Marketing The architecture of the oversight framework and Communications Strategy for the and reporting format will be agreed with the European Capital of Culture Year? Board and reviewed and updated as required on a regular basis to ensure a robust, flexible 6.27.1 EXPERIENCE ANYTHING ANYWHERE and responsive governance arrangement. In a little over 12 months Galway has become the largest ever ‘Digital Capital of Culture’ building an online community of over 60,000 people and reaching audiences of over 200,000 across 84 countries every week. By 2020, our goal is for Galway’s digital communications to reach over 1,000,000 people globally per week. While not alienating or forgetting consumers of traditional media, Galway is thinking global and backing digital.

In the coming four years we will continue on a road of aggressive experimentation. Our mission is to fundamentally revolutionise the way in which people remotely experience culture around the world. Our approach to communications will continue to be decentralised and citizen led. Over the next four years we will continue to build online communities and sustainable platforms which facilitate mass participation and meaningful offline experiences. Short term, expensive and flashy marketing campaigns are out.

Galway is the largest ever ‘Digital Capital of Culture’

Current weekly audience – 200,000+ Our goal for 2020 – 1 million+ people globally per week

96 Galway 2020 / Bid Book Two 6.27.2 OBJECTIVES Galway’s digital communications strategy is focused on five main pillars of activities: Galway’s communication strategy will focus on achieving two core objectives: 1. Virtual Futures

~~ Empower people throughout Europe and the 2. Digital Broadcasting rest of the world to remotely experience and actively participate with Galway’s programme 3. Digital & Mobile Platforms of cultural events in virtually immersive worlds. 4. Social Media ~~ Inspire mass participation and ownership amongst the citizens of Galway in the ECOC. 5. The Hidden Web Virtual Futures 6.27.3 TARGETING Live 360’ Virtual Reality Broadcasting In a digital age of ‘hyper targeted’ Galway 2020 will broadcast all events and activities communications, the simplistic categorisation using live 360’ Virtual Reality broadcasting. Our of target groups becomes a mere framework intention is to visually immerse people from across from which we will commence: Europe in fully navigable virtual worlds as if they themselves were at the event. Stereoscopic video ~~ Galway and Irish Citizens and three dimensional sound will empower full (e.g. A 24yr old male from Dublin) 360’ visual and omni directional audio immersion ~~ Culturally Curious allowing citizens to look around the live event in (e.g. A Guardian reader from the UK) any direction as if they themselves were at the event. Galway 2020 has partnered with eight out ~~ Project Specific Interests of the top ten Virtual Reality content/broadcasting (e.g. A Cello enthusiast from France) agencies in the world including Jaunt VR, Visualise Over the coming 12 months the Galway 2020 VR, Unit 9 VR, Virtual Reality Ireland and Next VR. data and communications teams will develop target profiles and characteristics for all Galway Digital Broadcasting 2020 projects (e.g. age, gender, interests, Digital Broadcasting location). Data profiling, social listening and data It is predicted that by 2020, over 75% of all internet scraping techniques will then be used to build traffic will be video. Galway 2020 will use digital a detailed database of specific target groups broadcasting of live events to augment and for our communications. Marketing automation complement our planned uses of advanced virtual and campaign refinement via algorithmic mediums. Galway 2020 will establish both a ‘live artificial intelligence will subsequently be broadcasting’ platform and a ‘Video on Demand’ implemented to optimise the effectiveness of our platform which will be used across all projects, targeting strategies over the next four years. events and activities. We have commenced initial discussions with Ireland’s national broadcaster (RTE) about the possibility of utilising their existing Video 6.27.4 DIGITAL STRATEGY on Demand infrastructure as part of an extended Galway is aiming to build upon its status as arm of our digital ambitions. RTE’s VOD platform is the largest ever Digital Capital of Culture by used by over 68% of Ireland’s population reaching becoming the first ever city in Europe to run an audience of over 60,000,000 globally per year. a ‘Virtual Capital of Culture’. Our vision and Broadcasting Futures Lab ambition is to use digital technologies and The broadcasting futures lab will be a multi- emerging Virtual Reality, Augmented Reality, annual programme of research and practical Mixed Reality and Holographic mediums to: development into the future of how people will ‘Empower as many of Europe’s 500m citizens to remotely experience and participate in cultural remotely experience, participate and connect with events and activities. This ‘pilot centric’ programme Galway’s programme of cultural events, activities of research will build upon the un-paralleled and projects in virtually immersive worlds’. expertise of our partners at the MIT Media Lab ‘Ultimate Media Group’ to explore emerging Our vision is to step beyond the world of static mediums, remote interactivity of audiences screens and passive digital experiences to and crowd sourced citizen broadcasting. immerse audiences around Europe in fully navigable virtual worlds from which we can collectively experience Galway 2020.

Management 97 Digital Platform and Mobile App ~~ Digital Bloggers and Industry Influencers Inspired by the vision of creating a programme ~~ Digital Journalists and Press that can be experienced by audiences from anywhere in the world, nearly 60% of the projects ~~ Digital Networks of our EU Project Partners in Galway’s programme are entirely digital in ~~ Interest Specific Websites nature or will have a significant digital existence. ~~ Google Display Network Fundamental to realising this goal is the creation of a suitably immersive and digitally interactive Over the next three years the focus of the online/mobile platform from which these strategy will be based around mapping a ambitions can be realised. For the last six months nodal network of influence and building a Galway 2020 has worked with digital product segmented communication infrastructure designers, user experience experts and tech around each project in our programme. developers to develop technical specifications and wireframe designs for these platforms. 6.27.5 TRADITIONAL COMMUNICATIONS

Core features of the platforms will be the ability National and European Media to remotely experience live cultural events in Galway 2020 has already built successful media a multitude of mediums (Virtual Reality/Digital partnerships with local and regional media Broadcasting etc), socially interact with citizens all owners. These traditional mediums have proved over the world and interact with and dictate aspects to be vital tools in engaging with rural and ageing of live events. Additional practical functions of communities who may not have the access or these platforms such as the ability to book tickets, skills to engage with online communications. rate events and provide real-time feedback will prove to be fundamental components of Galway’s A collaborative campaign (‘My Galway, My Culture’ data centric ‘Impact and Monitoring’ framework. – Photography Competition) ran in partnership with the largest west of Ireland media owner, involved Social Media over 3,000 citizens taking part throughout Galway Our citizen-led strategy to social media city and county. Proving the goodwill that exists is focused around building sustainable for the project within local media sources, Galway online communities which empower mass 2020 has recently secured over €500,000 in participation in meaningful offline activities. sponsored advertising for the period 2017–2020 ~~ In a little over 12 months we have built an online from a number of local and regional media owners. community of over 60,000 people, the largest For the last six months Galway 2020 has been of any previous European Capital of Culture. working alongside international communications ~~ We have become the largest mobile platform agency and worldwide media buyer OMD in Galway with 83% of all our online traffic International to build upon these successful coming from mobile phones and tablets local and regional media partnerships. Galway ~~ Our levels of online engagement have has commenced initial discussions and has been consistently 3-4 times higher than received pledges of support from Ireland’s that of this year’s ECOC host cities key national media organisations including; ~~ Self-forming online 2020 communities’ ~~ RTE TV, Radio (Ireland’s National Broadcaster) pages have begun to form around ~~ TG4 TV and Radio (Ireland’s Irish the county including Athenry 2020, Language National Broadcaster) Headford 2020 and Oughterard 2020. ~~ INM (Ireland’s largest newspaper ~~ Over 2,000 citizens have self-organised and media group) an online Galway 2020 community forum for the dissemination of ideas ~~ Irish Times (Ireland’s largest and development of projects Broadsheet Newspaper) ~~ Communicorp (21 Radio Stations Across Europe) Over the next four years we look forward to this strategy extending beyond our shores We have also commenced discussions with to empower people throughout the world to European and International media groups across remotely experience and actively participate TV, Press and Radio whose target demographics in Galway’s programme of events. reflect those identified by Galway 2020. While highly targeted digital communications will focus The Hidden Web on a global European audience, communications Galway 2020 is building an entire digital strategy via traditional media will focus on six strategic around the ‘Hidden Web’ which exists beyond European markets including United Kingdom, our own digital platforms and social media. This France, Spain, Germany, Italy and Poland. Formal strategy will focus on uncovering the untapped partnerships will be pursued with these media potential of the following: groups should Galway be successful in its bid.

98 Galway 2020 / Bid Book Two Networks RE-MIX ME The use of carefully orchestrated ‘Network Effects Marketing’ will be used to scale Re-mix me is a project being developed by MIT communication and messaging throughout Media Labs ‘Ultimate Media Group’ and Galway Irish and European networks, including: 2020 which will look at the future of citizen broadcasting of live events. The project will see the ~~ Irish Embassies and Diaspora Network establishment of a dedicated citizen broadcasting ~~ Previous and Future ECOC Cities Network channel for Galway 2020 which will stream re- mixed feeds of multiple crowd sourced broadcasts. ~~ Existing Networks of European The project will empower citizens from across Cultural Organisations Europe to become effective directors of their own ~~ Networks of formal European Institutions citizen run TV channel, fluidly moving between ~~ Network of Galway’s Export Businesses individual broadcasts from citizens across Galway. ~~ Worldwide Network of Ambassadorial Galway 2020 Teams VOLUNTEER MEDIA TEAM ~~ Existing Local and European Networks of Key Building on our core belief of developing a Stakeholders (e.g. NUI Galway, Local Authorities) grassroots network of decentralised citizen communicators, Galway has already established Branding and Outdoor Marketing a volunteer Social Media and Data team of over A physical branding and outdoor marketing 900 people in the last 12 months. This specialised campaign will be rolled out across Ireland as part volunteer media team will be formalised of a nationwide advertising campaign. Galway over the coming 4 years through a managed 2020 has already formed preliminary partnership programme of activities, mentorship, training and agreements with three of Ireland’s largest the establishment of a volunteer media lab. Outdoor Advertisement Contractors including JC Decaux, Exterion Media and Clear Channel 6.29 How does the city plan to highlight Ireland. The use of citizen led branding, guerrilla that the European Capital of Culture is marketing and the creative use of public spaces an action of the European Union? across Galway will continue to play an integral role in the overall communications strategy. The visibility of the European Union will be guaranteed by including the European Union logo 6.28 How will you mobilise your own citizens as on all Galway 2020 marketing literature, website, communicators of the year to the outside world? social media and graphic materials. Guidance on the correct use of the European logo and Fundamental to Galway’s success in building an branding will also be issued in all distributed online community over the last 12 months was brand packs and guidelines. The European Union our ability to mobilise the people of Galway as flag will be flown from all cultural institutions in active members of our extended communications the city and county for the duration of the year. team. In recognition of this, we have built an entire strategy around utilising this decentralised Members of the European Parliament including network of citizen communicators as a key the President will be invited to take part in feature of our digital communications strategy. Galway’s opening and closing ceremonies as well as key events throughout the year. These EUROPEAN CITIZEN BROADCASTING will be hosted outdoors in Galway city and linked in with every town and island in the region, The rapid emergence of citizen broadcasting broadcast live digitally and on television. technologies and channels including Periscope, Meerkat, Youtube and Facebook Live are Three particularly special occasions will be used transforming the way in which global news, to mark the role of the European Union in the year events and issues are communicated with the long programme including Europe Day on the outside world. Periscope alone has 40 million 9th of May, the 100th birthday of Melina Mercouri daily active viewers with over 65 years of and the 250th birthday of Beethoven. A day long broadcasting footage being watched every day. series of events will reflect on the special life of Galway has developed an ambitious Europe- Melina Mercouri and her role in the foundation wide programme of citizen broadcasting which of the European Capital of Culture project. On will involve citizens and artists across Europe the occasion of Beethovans 250th birthday, reporting on some of the defining issues of our performances of the EU anthem, Beethoven’s time through the lens of their own local context Ode to Joy from his 9th Symphony will take and personal experiences. The curated programme place in Galway. A series of public workshops, of digital broadcasts will be used to augment talks and debates will be hosted as part of projects in our programme with contextualised these performances to examine whether the input from citizens across the continent. choice of anthem still resonates with European ideals of freedom, peace and solidarity.

Management 99 7. ADDITIONAL INFORMATION

7.1 In a few lines explain what makes your 7.2 Any further comments? application so special compared to others. One of the great legends of Irish mythology Our application is European in scope, concerns Queen Maeve, the queen of Connacht scale, partners, relevance and impact. (the western province of Ireland) and the war that arose over her desire to own the greatest bull in The depth of our engagement with the cultural all of Ireland. Across the sea (at about the same community and the public, we believe is time!) Europa was abducted by Zeus, in the form of unprecedented in Ireland, and the momentum a white bull, and became the queen of Crete. We that has been created for the ECOC is inspiring. think that a meeting between Europa and Maeve is Our engagement with a very wide spectrum of long overdue. They will have great stories to share. European partners throughout the programme and process is exemplary evidence of our embracing the philosophy of ECOC.

We have invested prodigious energy in developing our Virtual Capital of Culture which we intend to be a game changer in ECOC practice.

Our four flagship programmes in terms of conception, development and scale are extraordinary.

Mirrored Pavilions (2020), Galway Ghost Train, Middle Island, Gilgamesh and Hy Brasil are amongst many projects of international scale and significance.

Galway has a proud history of being able to deliver major events of world stature.

Galway is the largest Irish speaking area of the country.

Galway and our region has 86% of island dwellers in Ireland.

Galway 2020 and the Cultural Strategy for Galway City and County to 2025 are completely at one with each other.

I I EUROPEAN CAPITAL OF CULTURE 100 Galway 2020 / Bid Book Two Lara Luxardi ~ Larissa Oliveira ~ Larry Carey ~ Larry Donnelly ~ Laura Beatty ~ Laura Browne ~ Laura Carrill ~ Laura Cull ~ Laura Daly ~ Laura Forde ~ Laura Glynn ~ Laura Lynn ~ Laura Maribo ~ Laura Marino ~ Laura O’Dea ~ Laura Rigney ~ Laura Sandrheg ~ Laura V. O’Robledo ~ Laurence Bessard ~ Lea Shocks ~ Leah Beggs ~ Leah Duncan ~ Leanne Biggins ~ Lei Cai ~ Leo Hallissey ~ Leon Butler ~ Leona de Búrca ~ Leonie King ~ Leonore O’Neill ~ Lesley o’Farrell ~ Letitia Wade ~ Letizia Gorini ~ Levi Hanes ~ Liam Cunningham ~ Liam Doherty ~ Liam Duffy ~ Liam Weldon ~ Lidia DeLange ~ Lillis O’Laoire ~ Lilly McGarry ~ Lily Considine ~ Lily Kelly ~ Lily McGarry ~ Linda Ryan ~ Linnea Pettersson ~ Lisa Corbett ~ Lisa Forde ~ Lisa Martin ~ Lisa O’Donnell ~ Lisa Sweeney ~ Little John Nee ~ Liz Brook ~ Liz Coman ~ Liz Gantly ~ Liz Meaney ~ Liz Powell ~ Lol Hardiman ~ Look West ~ Lorna Flanagan ~ Lorna Moynihan ~ Lorna Murphy ~ Lorna Shaughnessy ~ Lorna Sullivan ~ Lorraine Callanan ~ Lorraine Fitzpatrick ~ Lorraine Fletcher ~ Lorraine Tansey ~ Lorraine Tuck ~ Louise Borre ~ Louise Breathnach ~ Louise Cassidy Conneely ~ Louise DePaor ~ Louise Durcan ~ Louise Heneghan ~ Louise Manifold ~ Louise Ryan ~ Louise Shields ~ Louise Spokes ~ Louise Staunton ~ LT Millane ~ Luca Angioletti ~ Lucas Nemeth ~ Lucas Vilhena de Paula ~ Lucina Russell ~ Lucy Elvis ~ Lucy Jackson ~ Ludo Vic ~ Luke Anthony ~ Luke Corrigan ~ Luke Morgan ~ Luke Murray ~ Lula Masri ~ Lusine Magazian ~ Lydia Concannon ~ Lydia Hernon ~ Lynda Lycan ~ Lynette Moran ~ Macdara Hosty ~ Macnas ~ Madeleine Flanagan ~ Madeleine Shinnick ~ Madeline Feeney ~ Mael Jezekel ~ Maery Larkin ~ Maev Creaven ~ Maev Lenaghan ~ Maeve Collins ~ Maeve Curtis ~ Maeve Egan ~ Maeve Forde ~ Maeve Joyce ~ Maeve Kelly ~ Maeve Magee ~ Maeve McNamara ~ Maeve Mulrennan ~ Magdalena Hylak ~ Maggie Ann Powell ~ Maggie Crowley ~ Maggie Hall ~ Mags Heffernan ~ Mags O’Gorman ~ Máire Daly ~ Máire Lavin ~ Maire Mannion ~ Mairead Berrill ~ Mairead Manifold ~ Mairead Ní Chaoimh ~ Mairead Ni Choinin ~ Mairin Doddy ~ Mairin Mannion ~ Mairin Ní Dhonnchadha ~ Mairin NicFhionghinn ~ Mairin O’Reilly ~ Máirín Uí Chomáin ~ Mairtin Davy O’Coisdealbha ~ Mairtin O’Maolain ~ Maja Mustac ~ Majella Burke ~ Majella Lennon Dalton ~ Majella Pedersen ~ Malachy Duggan ~ Małgorzata Doczyk ~ Manchán Magan ~ Maoliosa Boyle ~ Marc Lozano Meseguer ~ Marc Mac Lochlainn ~ Marcel Badia ~ Marcella Morgan ~ Marcin Calka ~ Marcus Wynne ~ Margaret Coleman ~ Margaret Costello ~ Margaret Curley ~ Margaret Dowling ~ Margaret Edgar ~ Margaret Flannery ~ Margaret Hanning ~ Margaret Irwin ~ Margaret Irwin West ~ Margaret LaCombe ~ Margaret O’Regan ~ Margaret O’Riada ~ Margaret Quinn ~ Margo Delapp ~ Margo Kelly ~ Margot Kenny ~ Mari Maxwell ~ Maria Auletta ~ Maria Burke ~ Maria Casey ~ Maria Cleary - McGuffin ~ Maria Conboy ~ Maria Connolly ~ Maria Coyne ~ Maria Feeney ~ Maria Flaherty ~ Maria Heenan ~ Maria Hutton ~ Maria Kelly ~ Maria Mansfield ~ Maria Murray ~ Maria O’Dowd ~ Maria Shiel ~ Maria Somerville ~ Maria Tivnan ~ Maria Tuffy ~ Maria Tuffy ~ Mariam Chale ~ Marian Doddy ~ Marian Ní Chonghaile ~ Marian O’Callaghan ~ Mariangela Maselli ~ Marianne Ní Chinneide ~ Marianne Ten Cate ~ Marie - Jeanne Jacob ~ Marie Dolan ~ Marie Gibbs ~ Marie Greaney ~ Marie Hannon ~ Marie Howley ~ Marie Kennedy ~ Marie Mannion ~ Marie O’Donnell ~ Marie Therese Shelly ~ Marielle Macleman ~ Marina L. Levitina ~ Marina Lisova ~ Mario Di Mario ~ Mario Zimmermann ~ Marion Ruane ~ Marion Ui Chonghaile ~ Marison Carrasco F ~ Mark Bruzzi ~ Mark Byrne ~ Mark Campbell ~ Mark Claeys ~ Mark Cullen ~ Mark Elliot ~ Mark Hall ~ Mark Keane ~ Mark Kennedy ~ Mark White ~ Marqu Breathnach ~ Martha Kieran ~ Martin Drury ~ Martin Flanagan ~ Martin Halliday ~ Martin Lavelle ~ Martin McDonnell ~ Martin O’Sullivan ~ Martin Staunton ~ Martina Cunningham ~ Martina Finn ~ Martina McDonagh ~ Martina Murray ~ Martina Nee ~ Martina Passman ~ Marty Walsh ~ Martyna Przygodzka ~ Mary Bennett ~ Mary Butler ~ Mary Campbell ~ Mary Curran ~ Mary Deely ~ Mary Deely ~ Mary Donnelly ~ Mary Donohue ~ Mary Fitzpatrick ~ Mary Flanagan ~ Mary Gannon ~ Mary Geeleher ~ Mary Greene ~ Mary Hartnett ~ Mary Hunt ~ Mary Joyce ~ Mary Keaveney ~ Mary Kelly ~ Mary Kerins ~ Mary Lavelle ~ Mary Lavelle Burke ~ Mary Lou Fallon Carty ~ Mary Mannion ~ Mary McCarthy ~ Mary McDonagh ~ Mary McGuinness ~ Mary McNabb ~ Mary McPartlan ~ Mary Morris Waldron ~ Mary Mullen ~ Mary Mullins ~ Mary Nash ~ Mary O’Connell ~ Mary O’Halloran ~ Mary O’Keefe ~ Mary O’Rourke ~ Mary O’Rourke ~ Mary Phelan ~ Mary Power ~ Mary Roberts ~ Mary Rogers ~ Mary Ruddy ~ Mary Ryan ~ Mary Shields ~ Mary Silke ~ Mary Teresa Fawle ~ Mary Treacy ~ Mary Whyte ~ Mary Ann Kelly ~ Mary Anne Worrell ~ Mary Clare O’Hara ~ Matthew Berrill ~ Maud Hand ~ Maura Hiney ~ Maura Machanana ~ Maura O’Cronin ~ Maura Walsh ~ Maureen McCarthy ~ Maureen Rabbitt ~ Maurio Figerora ~ Max Hafler ~ Maxim Kelly ~ Mayo Arts Office ~ Meabh Blount ~ Meabh De Burca ~ Meabh NiFhuarthain ~ Meave Dineen ~ Meave Giles ~ Medb Kiely Cuddy ~ Megan Bhaird ~ Megan Brogan ~ Megan Nelis ~ Megan O’Reilly ~ Megan Vine ~ Megs Morley ~ Melissa Griffith ~ Melissa O’Conoe ~ Mercedes Flemming ~ Mercedes Varona ~ Meriel FitzSimon ~ Mert Cinar ~ Michael Browne ~ Michael Carmody ~ Michael Corcoran ~ Michael Fitzsimons ~ Michael Gallagher ~ Michael Irwin ~ Michael Lacy ~ Michael MacNamara ~ Michael McDonagh ~ Michael McGettrick ~ Michael Moore ~ Michael Naughton ~ Michael O’Meara ~ Michael P. O’ Conor ~ Michael Sweeney ~ Michael Walsh ~ Miche Cuaig ~ Micheal Breathnach ~ Mícheal Ó Foighin ~ Micheel Herterich ~ Michelle Bradley ~ Michelle Browne ~ Michelle Fisher ~ Michelle Gunning ~ Michelle Harlowe ~ Michelle Joyce ~ Michelle Lally ~ Michelle Ní Chroinin ~ Michelle Shannon ~ Mick Conneely ~ Mick Crehan ~ Mick Monaghan ~ Mick Quinn ~ Miguel Cornejo ~ Miguel Losada ~ Miiro Michael ~ Mike Byrne ~ Mike Corbett ~ Mike Corby ~ Mike Dale ~ Mike Leahy ~ Mike McCormack ~ Mike Minnis ~ Mike Murray ~ Miko Burke ~ Miquel Barcel ~ Miranda Daly ~ Miriam Allen ~ Miriam Mulrennan ~ Mirian Ni Neil ~ Mohannad Alahmadi ~ Mocha Beans, Cross Street ~ Moira Mahony ~ Molly O’Driscoll ~ Mona Wise ~ Monica Corcoran ~ Monica Flynn ~ Morgan Matthews ~ Morgan O’Brien ~ Muireann Ni Chonaill ~ Muireann Ní Dhroighneáin ~ Muriel Grenon ~ Muz (Munchie) van Dijk ~ Nadia Fadda ~ Nadine Stille ~ Naomi du Bois ~ Narly Simoes ~ Narumol Prangnawarat ~ Natalia Kozlowska ~ Natalie Blakeney ~ Natalie Byrne ~ Natalie McCambridge ~ Natasha Edmondson ~ Nathan Staniforth ~ Neasa O’Shea ~ Neasa Ronayne ~ Neasa Russell ~ Neill Barrett ~ Nerina Burke ~ Ness Porter Kelly ~ Nessa Crpnin ~ Neuza Felix ~ Niall Cleary ~ Niall Duffy ~ Niall McMahon ~ Niall O Brollochain ~ Niall Ó Tuathail ~ Niall O’Floinn ~ Niall Teague ~ Niall Warde ~ Niall Woodlock ~ Niamh Brophy ~ Niamh Casey ~ Niamh Connolly ~ Niamh Corcoran ~ Niamh Dillon ~ Niamh Fahy ~ Niamh Farrell ~ Niamh Mannion ~ Niamh McCann ~ Niamh McHugh ~ Niamh McLoughney ~ Niamh Ni Fhlatharta ~ Niamh Ní Mhaoláin ~ Niamh O’Donovan ~ Niamh O’Sullivan ~ Niamh Philbin ~ Niamh Slattery ~ Nicole Blue ~ Nick Quinn ~ Nicola Kerrigan ~ Nigel Keady ~ Ninoska Morilla Fuentes ~ Nireen Keaveney ~ Noam Maguire ~ Noel Larrigan ~ Noeline Kavanagh ~ Noelle Cooper ~ Noelle Gallagher ~ Noelle Jennings ~ Noelle Lynskey ~ Nora Murphy ~ Nora Ward ~ Noreen Collins ~ Noreen Darcy ~ Noreen Goggin ~ Noreen O’Connor ~ Noreena Gill ~ Norma Shortall ~ Nuala Allen ~ Nuala Cunningham ~ Nuala McDonagh ~ Nuala Ni Chonchuir ~ Nuala Ni Fhlathuin ~ Nuala Nolan ~ NUIG SU ~ Oilbhe Scannell ~ Oisin Cunningham ~ Oisin Greaney ~ Oisin Hanlon ~ Olga Lee ~ Olive McGrath ~ Oliver Mertz ~ Oliver Smith ~ Olivia Brown ~ Olivia Lally ~ Ollie Crowe ~ Ollie Jennings ~ Olwen Fouere ~ Oonagh Hassett ~ Orla Higgins ~ Orla McGovern ~ Orla Moloney ~ Orla O’Donoghue ~ Orla Roche ~ Orla Scannell ~ Orlagh De Bhaldraithe ~ Orlagh Gallagher ~ Owen Harney ~ Owen MacCarthaigh ~ Owen Quinlan ~ Paddy O’Connor ~ Paddy Tobin ~ Padraig Boyle ~ Padraig Fahy ~ Padraig Naughton ~ Páid Ó Neachtain ~ Paige Godfrey ~ Pam Fleming ~ Pam O’Connell ~ Pamela Harty ~ Paolo Peveri ~ Paraic Collins ~ Paraic MacDonncha ~ Pardraig Kenny ~ Páscál McDaibhid ~ Pat Burke ~ Pat Fleming ~ Pat Gilmore ~ Pat McGrath ~ Pat Ward ~ Patrcia Walsh ~ Patria McWalter ~ Patricia Comer ~ Patricia Johnston ~ Patricia Kavanagh ~ Patricia Murphy ~ Patricia Prieto- Blanco ~ Patricia Timmons ~ Patricia Walsh ~ Patrick Costello ~ Patrick Denny ~ Patrick Fox ~ Patrick Gilmore ~ Patrick Gunning ~ Patrick Hamilton ~ Patrick Lonergan ~ Patrick McCabe ~ Patrick McCormick ~ Patrick Mierke ~ Patrick O’Connor ~ Patsy Connolly ~ Paul Bryan ~ Paul Cialis ~ Paul Connolly ~ Paul Fahy ~ Paul Flynn ~ Paul Frecklington ~ Paul Gibbons ~ Paul Gillen ~ Paul Grealish ~ Paul Killoran ~ Paul Mannion ~ Paul McLaughlin ~ Paul Murphy ~ Paul Naughton ~ Paul O’Donnell ~ Paul Wilson ~ Paula Healy ~ Paula Heaney ~ Paula Kehoe ~ Paula Madden ~ Paula McFettridge ~ Paula McGurell ~ Paula Ni Chualain ~ Pauline Logue ~ Pauline Neary ~ Pauline Nic Aindriú ~ Pavillon Marquees ~ Peader King ~ Peader O’Beirn ~ Pearl Finn ~ Pearse Doherty ~ Peggi Browne Interiors ~ Petal Pilley ~ Pete Claddagh ~ Peter Casby ~ Peter Crann ~ Peter Feeney ~ Peter Joyce ~ Peter Mullineaux ~ Phil Gurning ~ Phil Whyte ~ Philip Clapperton ~ Philip Cribbon ~ Philip Fogarty ~ Philip Harkin ~ Philippa Maguire ~ Phillip Delamere ~ Phillippa McGuire ~ Garret Phillips ~ Phyllis Hayes ~ Pierce Boyce ~ Pippa Blue ~ Pol O’Gallchloir ~ Polly Putney ~ Preveen Thyarala ~ Print Cantec ~ Prof. Cathal Seoighe ~ Prof. Daibhi O’Croinin ~ Prof. Daniel Carey ~ Prof. Donal O’Regan ~ Prof. Goetz Pfeiffer ~ Prof. Graham Ellis ~ Prof. John Hinde ~ Prof. John Walsh ~ Prof. Lionel Pilkington ~ Prof. Michel Destrade ~ Prof. Paul Crowther ~ Prof. Rióna Ní Fhrighil ~ Prof. Sean Ryder ~ Prof. Steven G Ellis ~ Rachel Barry ~ Rachel Cunnife ~ Rachel Dubber ~ Rachel Kuck ~ Rachel Maguire ~ Rachel Mountney ~ Rachel O’Connor ~ Rachel Parry ~ Rae Visser ~ Raghnall Ó Mordha ~ Ragnheidur Skulladottir ~ Rahemat Ali ~ Raluca Selejan ~ Ramona Burke ~ Rana Samir ~ Ray Glasheen ~ Ray Yeates ~ Raymond Keary ~ Raymond O’ Donnell ~ Rebakah Burke ~ Rebecca Ashade ~ Rebecca Jackson ~ Rebecca Nolan ~ Reg Gordon ~ Regan Maher ~ Regina Daly ~ Regina O’Dea ~ Regina O’Shea ~ Regina Rogers Ballet ~ Rena Garrett ~ Renato Nadal da Rocha ~ Renske Boef ~ Rhona Shaughnessy ~ Ria McGovern ~ Richard Chapman ~ Richard Chapman ~ Richard Harris ~ Richard King ~ Richard Nielsen ~ Richard Peyton ~ Richard Walsh ~ Ríonach Ní Néill ~ Risteard O’Domhnaill ~ Rita Doyle ~ Rita O’Loughlin ~ Rita Orlando ~ Rita Wobbe ~ Rob Deat ~ Robert Creech ~ Robert Crowley ~ Robert Fischer ~ Robert Hession ~ Robin D’Eath ~ Robin Jones ~ Robin Van Der Klooster ~ Rod Stoneman ~ Roger O’Sullivan ~ Rogha Bhride ~ Róisín Burke ~ Róisín Cowden ~ Roisin Coyle ~ Roisin Cure ~ Roisin Fahy ~ Roisin Kelly ~ Roisin McNally ~ Roisin O’Toole ~ Roisin Stack ~ Roland Zarzycki ~ Ronan Browne ~ Ronan Burke ~ Ronan Byrne ~ Ronan Connor ~ Ronan Fahy ~ Ronan Galvin ~ Ronan Gibney ~ Ronan Hennessy ~ Ronan McNeill ~ Ronan Mulryan ~ Ronan Scully ~ Ronan Smith ~ Ronnie O’Gorman ~ Rory Lorton ~ Rory McGauran ~ Rory O’Byrne ~ Rory Tyson ~ Rosa Roccaforte ~ Rosa Velasco ~ Rosanne Ward ~ Rose Curley ~ Rose Fagan ~ Rose Nkhoma ~ Rosemarie Butler ~ Rosemary Drumm ~ Rosemary Hanley ~ Rosie McGurran ~ Rosie Webb ~ Ruairi McNicholas ~ Ruairi O’Neill ~ Ruby Wallis ~ Rusty Weise ~ Ruth Caty ~ Ruth Golden ~ Ruth Hanly ~ Ruth Hegarty ~ Ruth Lardner ~ Ruth LeGear ~ Ruth McHugh ~ Ruth McMahon ~ Ruth Ní Mhairtín ~ Ruth Smith ~ Ruth Burke ~ Ruth Gordan ~ Ryan Browne ~ Ryan Molloy ~ Sabrina Dinan ~ Sadhb Keating ~ Sadhbh Baumann ~ Sadhbh Ní Nualláin ~ Sadie Cramer ~ Sadie Mackey ~ Saifur Rehman ~ Salim Zulfiqar ~ Sally McHugh ~ Sally O’Leary ~ Salt & Pepper Foods ~ Sam Adlum ~ Samantha Sullivan ~ Samantha Williams ~ Samir Mahmood ~ Sandra Downey ~ Sandra Getty ~ Sanswrang Basumatary ~ Saoirse Bergin ~ Sara Freilich ~ Sara Gilligan ~ Sara Stokes ~ Sarah Bannan ~ Sarah Burke ~ Sarah Clancy ~ Sarah Dillon ~ Sarah Doherty ~ Sarah Donnelly ~ Sarah Doyle ~ Sarah Kelleher ~ Sarah Kenny ~ Sarah Lynch ~ Sarah Matthews ~ Sarah McCathy ~ Sarah Murphy ~ Sarah O’Neill ~ Sarah O’Toole ~ Sarah Shwaiki ~ Sarah Smith ~ Sarah Walsh ~ Sarscoil Fibin ~ SCCUL Enterprises ~ Seamus Hughes ~ Seamus JP Scullion ~ Seamus McCarthy ~ Seamus Scanlon ~ Seamus Scullion ~ Seamus Sheridan ~ Sean Coppinger ~ Sean DeBurca ~ Sean Dunleavy ~ Sean Forrstal ~ Sean Garvey ~ Sean Heaney ~ Sean Lynch ~ Sean MacCarthaigh ~ Sean Mc Grath ~ Sean O Muircheartaigh ~ Sean O’Connell ~ Sean O’Maille ~ Sean O’Meallaigh ~ Seán Power ~ Sean Prendergast ~ Sean Reddan ~ Sean Walsh ~ Seán Lynch ~ Sebastian Gornick ~ Sebastian Kania ~ Selma Makela ~ Seosamh Duffy ~ Sergio Silva ~ Shafiq Qadri ~ Shane Conway ~ Shane Daly ~ Shane Farrell ~ Shane Heneghan ~ Shane Malone ~ Shane Sheedy ~ Shane Sheil ~ Shannon Barry ~ Shannon Holland ~ Sharon Carroll ~ Sharon Collins ~ Sharon Conneely ~ Sharon Daly ~ Sharon Dooley ~ Sharon Egan ~ Sharon Kelly ~ Sharon O’Grady ~ Sharon Shannon ~ Shay Livingstone ~ Sheikh Zuhaib ~ Sheila Deegan ~ Sheila Flanagan ~ Sheila Flanagan ~ Sheila Gorham ~ Sheila Mangan ~ Sheila Mary Quinn ~ Shell Burke ~ Shelly McDonnell ~ Sherrill Graviano ~ Shiralee Kelly ~ Shirley Hope-Sweeney ~ Shona MacGillivray ~ Shona McMillan ~ Siamsa Tire ~ Silvia Rehaman ~ Simon Heaslip ~ Simon Kelly ~ Simon Kenny ~ Simon Murray ~ Simone Kelly ~ Simone Zondervan Hackett ~ Sinead Clarke ~ Sinead Craughwell ~ Sinead Donnelly ~ Sinead Dowling ~ Sinead Glynn ~ Sinead Hackett ~ Sinéad Harkin ~ Sinead Hayes ~ Sinead Macken ~ Sinead McPhillips ~ Sinead Ní Chadhain ~ Sinead Ní Fhaoláin ~ Sinéad Ní Ghuidhie ~ Sinead Ni Mhainnin ~ Sinead O’Reilly ~ Sinead O’Riordan ~ Sinead Redmond ~ Siobh Noctor ~ Siobhain Mulcahy ~ Siobhan Costello ~ Siobhan Fahy ~ Siobhán Joyce ~ Siobhan McDonald ~ Siobhan McGibbon ~ Siobhan Mulcahy ~ Siobhan Ní Cheidigh ~ Siobhan Ni Ghadhra ~ Siobhan Sloane ~ Siobhan Ward ~ Siphathisiwe Moyo ~ Siri Rosendahl ~ Skye Hartmann ~ Song Song Du ~ Sonja Brodie ~ Sophia Small ~ Sorcha Walsh ~ Stefania Berlasso ~ Stella Concannon ~ Stephan Roche ~ Stephanie Keane ~ Stephanie McLoughlin ~ Stephanie O’Callaghan ~ Stephen Badger ~ Stephen Cadwell ~ Stephen Donnelly ~ Stephen Dowling ~ Stephen Joyce ~ Stephen Murray ~ Steven McHugh ~ Steven Ring ~ Steven Sharpe ~ Suad Al Darra ~ Sue Breathnach ~ Sue Doherty ~ Suelen Siqueria de Melo ~ Suiun O’Connor ~ Sunil Koppuri ~ Susan Brindley ~ Susan Lindsay ~ Susan Millar Du mars ~ Susan O’Sullivan ~ Susi Alessio ~ Suzanne Cavanagh ~ Suzanne Gilsenan ~ Suzi Coombs ~ Suzi Coombsart ~ Suzi Wyne ~ Sybil Curvey ~ Tamseela Tahir ~ Tania Aruda ~ Tanisha Geoghegan ~ Tanisha Geoghegan ~ Tanya Hennigan ~ Tanya Whyte ~ Tara Breathnach ~ Tara Finn ~ Tara Haynes ~ Tara McHugh ~ Tara Ryan ~ Tatiana McGarry ~ Tatiane Brandao ~ Taz Spelman ~ Ted Turton ~ Ted Turton ~ Temple Café ~ Teresa Glynn ~ Teresa Heneghan ~ Teresa O’Reilly ~ Teresa Sweeney ~ Teresa Ward ~ Terre Duffy ~ Terri Kelleher ~ Terry A. Campbell ~ Terry Callaly ~ Therese Moylan ~ Thomas A. Quinlan ~ Thomas A. Quinlan ~ Thomas Connell ~ Thomas Corcoran ~ Thomas Cuffe ~ Thomas Morgan ~ Thomas Murray ~ Thomas Noade ~ Thomas Quinlan ~ Thomas Steward ~ Thomas Welby ~ Tiernan McCuskar ~ Tillie Murphy ~ Tim Gleeson ~ Tim Madigan ~ Tim Meaney ~ Tina Paulick ~ Tom Bergin ~ Tom Broderick ~ Tom Concannon ~ Tom Forde ~ Tom Hennigan ~ Tom Kennys ~ Tom Portman ~ Tom Quinn ~ Tom Stewart ~ Tom Walsh ~ Tomas Kenny ~ Tomás O’Cadhain ~ Tomas O’Siochain ~ Tommu Henriksson ~ Tommy Baker ~ Tommy Carew ~ Tommy Carey ~ Tommy Kelly ~ Tommy Kelly ~ Tommy Quinn ~ Tommy Roddy ~ Tommy Roe ~ Tony Higgins ~ Tony Reilly ~ Tony Treacy ~ Tracey Bruen ~ Tracy Ferguson ~ Traolach O’Fionn ~ Trevor Conway ~ Trevor Seery ~ Trish Murphy ~ Trish Walsh ~ Troy Gottfredson ~ Turlock Holmes ~ Ugochuknu Oji ~ Uinseann Macth ~ Ulla Hokkanen ~ Ultan Conlons ~ Una MacLochlainn ~ Una McCarthy ~ Una McMahon ~ Una Murphy ~ Una Ni Fhlannagain ~ Una Nic Lochlainn ~ Una Quigley ~ Una Sinnott ~ Val Ballance ~ Valdas Uselis ~ Valerie Hachett ~ Valerie McLoughlin ~ Vanessa Ferreira Costa ~ Vanessa Jordan ~ Vanessa Mclean ~ Vanessa Ward ~ Verena Kandler ~ Vernice Murray ~ Veronika Straberger ~ Vicki Crowley ~ Vicky Leonard ~ Vicky Smith ~ Victor Olvera ~ Victoria Fury ~ Victoria Smith ~ Vina Mara ~ Vinicius Leardini ~ Vinny Browne ~ Virginia Moyles ~ Vivek Singhania ~ Vivenne Martin ~ Vlad Marisevs ~ Wargola Margerita ~ Wendy Smith ~ Wiktor Olwerowski ~ William Fulford ~ Willie Campbell ~ Willie Forde ~ Xavier Mercier ~ Yannan Wang ~ Yoshimi Hayakawa ~ Yousef Khumayes ~ Yvonne Ahern ~ Yvonne Barry ~ Yvonne Butler ~ Yvonne Casburn ~ Yvonne Daly ~ Yvonne Fahy ~ Yvonne Keane ~ Yvonne King ~ Zara Sheerin ~ Zita Monahan ~ Zsuzsi Macko ~ These names are a selection of those who participated in the engagement process for Galway 2020

This bid book was written by the Galway 2020 Team – Project Manager Patricia Philbin Programme Team Jane Daly (Programme Manager), Tracy Geraghty(Development and European Dimension), Marilyn Reddan (Development and Legacy), Niall O’Hara (Development and Communications), Belinda Quirke, Jen Coppinger, Lisa Hallinan, Mary Cremin Production Manager Pearse Doherty Business Engagement Mark O’Donnell, Ryan Williams Communications Riona Durkan, Jo Lavelle Community and Outreach Nollaig McGuniness Inter-Cultural Officer Joseph Nyirenda Volunteer Co-ordinator Elena Toniato Strategist and Bid Book Editor Arthur Lappin Office Management and AdministrationJoan Higgins, Yvonne Curran Photography/Documentation Cormac McMahon Cultural Strategy Eithne Verling Steering Committee Cllr. Frank Fahy (Mayor of Galway City), Cllr. Peter Roche (Caithaoirleach of Galway County), Brendan McGrath (Chief Executive of Galway City), Kevin Kelly (Chief Executive of Galway County), Barry O’Sullivan (Altocloud), Cait Noone (GMIT), Fergal McGrath (Townhall Theatre), Frank Greene (Galway Chamber of Commerce), Gary McMahon (Galway City Council), Dr. Jim Browne (NUIG), John Crumlish (Galway International Arts Festival), John Kilmartin (Medtronic), Keith Finnegan (Galway Bay FM), Lelia Doolan (Film maker), Liam Bluett (SCCUL Enterprises Ltd), Padraic Breathnach (Galway Arts Centre), Patricia Forde ( Writer), Pól Ó’Gallchóir (TG4), Sarah Lynch (Druid Theatre), Steve Ó Cúláin (Údarás na Gaeltachta), Photography Colm Hogan, Conor Ledwith, Matthew Thompson Design Unthink Galway Application for European Capital of Culture 2020

MAKING WAVES MAKING WAVES

Galway Application for European Capital of Culture 2020