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NOTES 28. The history of the United States reveals that immigrants will seize this possibility by drawing initially upon their family and support networks and, if necessary, upon their own community. 29. Council of Europe Publishing (1997), From The Margins: A contribution to the debate on Culture and Development in Europe, European Task Force on Culture and Development. 30. Molotch, (2003), Where Stuff Comes From?, Routledge, London, p.88 31. Some political regimes manipulate culture as a weapon for ideological and social struggle, combined with violent political levers. 32. Friches industrielles, lieux culturels, Proceedings of a Conference held on 18 and 19 May at La Laiterie in Strasbourg, pp. 12-15 33. Les annales de la recherche urbaine, “Les itinéraires de l’insertion”, n°70, March 1996 34. Since they were there themselves because of their poverty and their rejection of the statist approach to culture. 35. The Radazik, a cultural retrofit in Les Ulis in the Paris region, had to close for several months for reconstruction following an arson attack. The neighbours had never accepted it, and they continuously vandalized it as they did other city structures. 36. In the mid to late 1990s these include O’Brien and Feist’s (1995) Employment in the arts and cultural industries: an analysis of the 1991 Census, which identified a total number of 648,900 individuals employed within the cultural sector (2.4% of the totally economically active population), rising to 664,400 if self-employed crafts persons are included in their definition of the sector. The study also showed that the cultural sector was unevenly distributed across Britain, with the heaviest concentration in London, and that there had been a 34% increase in the number of individuals with cultural occupations between 1981 and 1991. 37. CGP (1989), Nouveaux besoins, nouveaux services , Paris : La documentation française. 38. The choices were explained at length to 500 randomly selected households, and the response rate was 50.5%, which was deemed satisfactory. The researchers then tried to determine the factors underlying the positive or negative responses, and identified as the main factors the household’s tax burden, age, education level, disposable income, and an indicator of preferences with respect to heritage. 39. The income effect is eliminated in paired comparisons. 40. The choices were explained at length to 500 randomly selected households, and the response rate was 50.5%, which was deemed satisfactory. The researchers then tried to determine the factors underlying the positive or negative responses, and identified as the main factors the household’s tax burden, age, education level, disposable income, and an indicator of preferences with respect to heritage. 41. For the first group it was the equivalent of €58, while for the second it was only €8.80. 42. idem, p. 20 43. Information accompanying the questionnaire pointed out that, without renovation, not only would the Medina’s physical aspects deteriorate, but its more intangible aspects (traditional crafts, atmosphere) would disappear and the place would lose all its value. CULTURE AND LOCAL DEVELOPMENT - ISBN 92-64-00990-6 - © OECD 2005 191
NOTES 44. www.ntcicfunds.com 45. idem, pp.50-2. 46. idem, p.51. 47. Another source of difficulty here is that, while we can measure jobs created, we cannot measure jobs lost. 48. On average, two nights for the first group and three nights for the second. The amount of their daily spending varied with their country of origin. The French/foreign split among tourists was 30%/70%: under the low hypothesis there were 6.3 million foreign tourist overnights and 1.8 million French tourist overnights; and under the high hypothesis, the respective figures were 8.6 million and 2.6 million. 49. Higher spending by Americans and Japanese offsets by far the lower spending of tourists from poor countries. 50. In this particular case, and for the particular year in question, this amount was higher than total government spending on heritage throughout France, and the number of jobs was nearly double that in the publicly assisted hospitals of Paris. 51. Broadway’s Economic contribution to N Y C 2002-2003 52. This theatre contributes at two levels to local wealth: direct spin-offs (local spending by visitors and wages paid to employees, which are then converted into local spending), and indirect spin-offs as the initial wave of spending ripples through the economy. 53. In the wake of changes to their unemployment insurance benefits. 54. To these direct effects we could add the economic impact of the “shows” market in Avignon, which attracts French and foreign theatre professionals during the festival. 55. The permanent exhibit displays the history of the French comic strip since 1830, but it also covers other countries, starting with the United States. The most famous comic strip artists are represented, and several archive collections have been compiled, from artists such as Rob Vel and René Bastard. The library has nearly 10,000 reference books and periodicals. In addition, the museum has been designated the legal depository for comic strips, which gives it special status. 56. The Digital Imaging Laboratory (LIN) works in cooperation with industry to train personnel and to develop the use of new technologies, and it now in fact has a major training programme. The Centre supports the LIN by letting it extend its activities over more of the year. The Centre has also negotiated partnerships with universities and research labs, including the Cité des Sciences in Paris, with which it is setting up a New Images Interpretation Centre. That centre, which is to open in 2005, will have a museum and an interactive laboratory. While the comic strip aspect has been somewhat downplayed, these institutions in Angoulême have been striving from the beginning to disseminate a digital imaging and multimedia culture to businesses and individuals. 57. The impact of this training activity goes beyond the strictly economic sphere: many of the trainees are from disadvantaged backgrounds and this training helps them make their way into show business and more generally into society. 192 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 A new agenda for
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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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