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4. THE CULTURAL FABRIC OF CITIES and may even fall into decline. If prices rise in the artistic sector because productivity has declined or wages have jumped, employment in the artistic sector will be depressed and demand for employment in the rest of the local economy will be stimulated. This analysis suggests a number of recommendations for choosing an artistic investment. • An artistic investment will be more sustainable in a territory that is highly integrated and where artistic is not the driving factor. Lack of integration is not a critical obstacle here, but it can expose the territory to risk (as shown in the model, in the shift from the third to the fourth case). If these two conditions are met, local employment as a whole will benefit from artistic activity, as is the case with artistic sites in great metropolitan centres like Paris and New York. But in a poorly integrated territory, artistic employment will be the main beneficiary, and this is the case with artistic or art cities like Venice, Krakow, Bruges and Toledo. • An artistic investment will cause more problems if it increases the relative local weight of the artistic sector. This is likely to cause significant distortions over time. There is a real absorption problem here, and the final outcome will be determined by success in controlling two things - property rights, and the payroll in the artistic sector. • Rural territories (and even small towns) are particularly exposed to these risks, when their artistic resource is relatively significant and their degree of integration is low. These territories often place great hopes in cultural tourism, yet the analysis indicates that these investments must be adjusted to the local absorption capacity and must not be based on excessive expectations about artistic demand or employment. • When a territory reaches the point where workers in artistic-created jobs have developed the skills to satisfy local needs, the high relative weight of artistic employment will no longer pose a risk, and this assures development of types 2 or 3. For example, if skills in the restaurant and maintenance trades can be put to work for the local economy, this will make it possible to meet needs in the construction and public works sectors without having to import resources from outside. (This is the case with the school workshops and enterprise centres in Andalusia). Artistic investments will promote development only if they are based on a proper assessment of the degree of integration and the elasticities involved, and if the approach to governance of artistic development is sufficiently broad to include such things as occupational training and land management policies. CULTURE AND LOCAL DEVELOPMENT - ISBN 92-64-00990-6 - © OECD 2005 147
4. THE CULTURAL FABRIC OF CITIES Art cities in developing countries: unbridled tourism versus prudent conservation Debate over the contribution that an “art city” can make to local development takes on some special aspects when it comes to developing countries. There, artistic sites are hard to separate from complex and heterogeneous urban settings that are often the scene of severe environmental problems and of social conflict over the appropriation of lands. The solutions will be more complicated, and the expected spin-offs from tourism may well collide with important social and economic constraints. A case in point is the city of Salvador da Bahia. Located in the historic heart of Salvador da Bahia in north-eastern Brazil, the Pelourinho is an extremely fragile place that is suffering the side-effects of tourism development 113 . Since 1992 it has been the target of a revitalisation policy involving a large-scale public effort to safeguard the historic centre and make it a tourist attraction. As background, it must be recognised that in the city of Salvador there has been a sharp distinction between the upper town, the political and administrative centre, and the lower town, the business centre 114 . The social divide between the upper and lower towns emerged with the city’s modernisation at the end of the 19th century and the beginning of the 20th, at which time the city’s layout was completely altered. During the process, the Pelourinho was cut off and it was abandoned by its wealthier residents. It came to be populated by low-paid workers, domestics, street vendors, the unemployed, and prostitutes, and by the 1930s it was viewed as a dangerous place. The first efforts at restoration of the historic centre began in 1967. Pelourinho Square, one of the city’s most characteristic features, was restored. Other sites were upgraded, but rehabilitation during this time focused on individual buildings and not on the zone as a whole. In the early 1990s, a more radical approach was adopted with the Recovery Plan for the Historic Centre of Salvador; Pelourinho was to be “the spearhead for marketing the city, the cornerstone of local political consensus, and one of the principal tourist attractions of the State of Bahia”. As result, use values were banished from the city in the name of conserving its existence values for tourists. In contrast to many artistic forms, the city has a use value for which it was created. It has churches, old dwellings, public buildings, streets and squares, a built heritage that was designed above all to serve the needs of its inhabitants. The risk was that the city would be “sanitised” and that any features that disturbed its “harmony” would be removed 115 . Since the Nara conference in 1994 (which amended the Venice Charter), we know that the idea of authenticity in heritage is very relative. A city is the result of constant evolution and its architecture remains as testimony to different periods of its past. To favour one period over another implies not only an erroneous reconstruction but the destruction of all other testimony. Yet renovation of the city is most often conceived 148 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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EXECUTIVE SUMMARY the operation of
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INTRODUCTION Defining cultural reso
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