OECD Culture and Local Development.pdf - PACA

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4. THE CULTURAL FABRIC OF CITIES - On top of this, there was the security argument: precious metals had to be shipped in, stored, and move from one production site to another. There was an entire system of virtually secret porters and delivery routes that it was feared would be disrupted by large inflows of people. The jewellers objected to the opening of stores selling - of all things - imported jewellery. - Finally, they saw no need to introduce housing, often of the luxury kind, in a quarter were noise and physical pollution was heavy (vibrations, ammonium fumes, dumping of wastewater and used materials and other nuisances inherent to jewellery manufacture). They were not opposed to the quarter’s renovation as such, however, and the municipality took account of their concerns by attempting to rein in the high-end housing programme, the idea being that under no circumstances should renovation result in driving out the jewellers and their families. In January 2001, a new plan was introduced with revised quantitative standards, and the jewellers were at last treated as full partners. The experience of another Birmingham neighbourhood, the Gun Quarter, where the same strategy had been tried and the local character had as a result been destroyed, had also put the municipality on guard against strategies that seemed initially worthwhile but that could destroy the fabric of the city 108 . Essaouira Many cities in the Maghreb have a fine building heritage that can constitute a rich cultural resource if it is properly maintained and upgraded. In most cases, it is the poorest people who live in these quarters, the Medinas, and they are unable to maintain this patrimony. What happens then is a vicious circle: the better-off people leave the Medinas, the buildings become more and more dilapidated, and they are finally threatened with destruction and disappearance. In the mid-1990s, Essaouira (Morocco) was facing seemingly insoluble problems because of its isolation and the decline in its fishing industry and related economic and commercial activities. The situation was having a negative impact on the state of its natural and cultural heritage, and in particular the historic buildings and monuments of the Medina. The city fathers, with the support of various United Nations bodies (UNESCO, UNDP, UN-Habitat) and international cooperation, took the decision to launch a dynamic local programme for sustainable development (El Mouatez My Abdelaziz, 2003). It all started with recognition that the cultural and natural heritage could be the driving force for turning the city into a cultural and ecological tourism site, as the basis for its sustainable development. An action plan, Agenda 21, was drawn up with three main themes: - rehabilitation and restoration of the Medina and its surroundings; CULTURE AND LOCAL DEVELOPMENT - ISBN 92-64-00990-6 - © OECD 2005 131
4. THE CULTURAL FABRIC OF CITIES - protection of the sand dunes, establishment of a greenbelt and a city park; - and developing tourism facilities along the seafront and the Bay of Essaouira. Restoration work on the ramparts began in 1999, with a pilot project supported by UNESCO in the Mellah quarter. This work provided young men with training in traditional masonry; a training workshop was set up and journeyman masons from France, specialised in traditional masonry and stone cutting, trained several dozen apprentices who then carried out the restoration work on the monumental doorways and arcades of the souks in the middle of the Medina. The Agenda 21 team also persuaded the local authorities to abandon a number of real estate projects that would have been harmful to the city’s heritage and its image. These efforts, conducted jointly by the local authorities, the national ministries, associations and support groups, and international cooperation, were so successful that the Medina of Essaouira was placed on the UNESCO World Heritage list. In terms of tourism, an association of Essaouira residents looked for ways to take advantage of the city’s assets: its ramparts, musical culture, and a woodworking craft industry based on nearby cedar groves. A popular music festival was launched and proved a great attraction not only for tourists from Morocco but also from abroad. Foreign artists were also drawn to the festival, further enhancing the city’s artistic potential, for example through the arrival of art galleries. One tangible outcome of the event was the creation of an autumn university session that attracts intellectuals interested in the city. A second festival was then established, the Alyzées festival of classical music. A virtuous circle had begun: the inflow of tourists supported the establishment or maintenance of hotels, restaurants and guesthouses. At the same time people undertook to renovate their dwellings, the woodworking crafts flourished, and the airport was upgraded. The city now has an international reputation, and filmmakers have returned to the place where Orson Welles made Othello more than half a century ago. The number of tourists rose from 60,000 in 1995 to 200,000 in 2001, visitors extended their average stay from 2 to 4 nights, the hotel occupancy rates multiplied by a factor of 3 or even 4, and in 2001 there were some 700 jobs catering to tourism. Considering the cost of investments and public subsidies that went into the festivals, and the revenues from visitors, the cost-benefit ratio was calculated at 0.7 in 1998 and 0.4 in 2001. The city now finds itself at a crossroads, and it will have to find ways to keep some control over tourism (one possibility for “smoothing out” the impact of tourism would be to promote surfing possibilities along the very windy coast) and over foreign investment (largely European). It will have to protect its ecosystem and undertake reforestation to compensate for the city’s expansion. It will also need to introduce a labelling policy to protect its craftsmen, in light of illicit trafficking in wood. The contribution of culture to the urban fabric needs to be integrated more thoroughly into the city’s strategies, for only in this way can one measure the extent 132 CULTURE AND LOCAL DEVELOPMENT - ISBN 92-64-00990-6 - © OECD 2005
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Culture and Local Development
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ORGANISATION FOR ECONOMIC CO-OPERAT
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Table of Contents Executive Summary
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EXECUTIVE SUMMARY the operation of
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EXECUTIVE SUMMARY new projects; and
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EXECUTIVE SUMMARY is the fact that
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EXECUTIVE SUMMARY A new agenda for
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INTRODUCTION Yet these attitudes gr
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INTRODUCTION a basis for developmen
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INTRODUCTION Defining cultural reso
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INTRODUCTION - the one where cultur
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ISBN 92-64-00990-6 CULTURE AND LOCA
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1. USING A TERRITORY’S CULTURE TO
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Chapter 2 Local development based o
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2. LOCAL DEVELOPMENT BASED ON ATTRA
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Annex 2 CHAPTER 3: PROMOTING LOCAL
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ANNEX 2 The second measure is given
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NOTES 16. V. Ponthieux S. (2003), p
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NOTES 44. www.ntcicfunds.com 45. id
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NOTES 69. Caserta S., & A.P. Russo
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NOTES 98. The craftsman will retain
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NOTES 116. de Filgueiras Gomes M.A.
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