OECD Culture and Local Development.pdf - PACA

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1. USING A TERRITORY’S CULTURE TO PROMOTE LOCAL DEVELOPMENT and communities the chance to rebuild their identities, to become part of creative culture, and to undertake projects that will have positive fallout for the entire city (Greffe, 2003). A “retrofit” of this kind typically occupies a former industrial, commercial or military site that has deteriorated through its former use to the point where it can no longer be used without a thorough overhaul and cleanup. The proliferation of abandoned industrial, commercial and military facilities has created gaping voids in the larger cities, particularly, witnesses to a bygone era. Activists promoting the revival of cultural and associative life set out to meet the challenge posed by these derelict urban spaces and to invest in them. The movement was born in the late 1970s, with the emergence of the counterculture, squatter invasions, and the growing awareness that new generations of artists and audiences had entirely new aspirations. Little by little, the sponsors of these conversions attempted to transform the surrounding districts and to make them a force for integration and education, where artistic activities represented a means as well as an end. The “retrofit” thus produced a new urban territory. The role of cultural retrofits These converted facilities contribute to local social development in four ways: - By re-invoking the emotional and symbolic significance of a place that was once used for industrial production, the retrofit suggests that creation is inherent to the territory and it invites us to explore those aspects: “Derelict urban sites show how ephemeral any social organisation is, and at the same time they contain the seeds of a possible future. These wastelands, where ordinary life in suspended, speak to us of the unspeakable, the unnameable, the dark aspects of society. Because they suspend the unconstrained process of production and consumption, of use and wear, they blur the frontier between what is thinkable and what is not…” 32 . - For people who have spent all or part of their working life in these old warehouses, forts and factories, to return to them now is quite a surprise, because they can see there traces of new hopes and uses rather than ruins. - The members of cultural associations that choose to set up shop there see these places as covering all possibilities, from rebirth to ultimate physical destruction. An abandoned building thus highlights two related concepts, the ephemeral and the creative. By testifying to successive modes of production in the past, the derelict suggests that development can continue, but in different forms. - Moreover, when factory sites are used for amateur performances, such as practical theatre, rap or hip-hop workshops, they allow individuals and groups to become actors in their own development. CULTURE AND LOCAL DEVELOPMENT - ISBN 92-64-00990-6 - © OECD 2005 41
1. USING A TERRITORY’S CULTURE TO PROMOTE LOCAL DEVELOPMENT Other cultural institutions have been doing this for a long time, but one of the key features of the retrofits is to push these practices further by enlisting amateurs from outside their walls, in disadvantaged urban neighbourhoods. By reaching out to a new potential audience and bringing it into a practical theatre workshop, and showing that theatre is not the preserve of the rich and privileged, these recycled facilities are fulfilling one of their key social callings. - Retrofits help to popularise a forward-looking “project” culture by instilling the principle of creativity in an environment that is often degraded and disadvantaged, and from which that principle has long since disappeared. This creative activity brings a new life to the territory, one that goes far beyond evening concerts or theatre productions. The Friche Belle de Mai in Marseilles is not limited to helping artists with their tangible work, for example by providing them with studio space: it takes account of all the conditions and skills needed to bring a work to life. Experts in the new technologies provide coaching and artistic support for radio or newspaper ventures, for example. The combination it offers of housing for artists, visual art workshops, training in the practical arts, recording studios, discussion forums, sporting activities and restoration makes it a place of creativity not only for artists but for the entire district. Spectators and fans are in close contact with the artists, and so they can better understand the creative impulse in which they are now involved. - What is special about these retrofits is that “they are built at the meeting point between professional and less professional artists, young and not so young, they attract different audiences, and they keep cultural, social and symbolic resources circulating in a flexible space where many artistic disciplines interact” 33 . Artists can act at all levels, they can join forces with others to create a new artistic and social endeavour according to redefined standards. In assessing the Belle de Mai, F. Raffin resorts to the image of DNA (Raffin, 1999): “in the DNA chain, some elements appear more determinant than others (…). As with DNA, the Belle de Mai brings together at one place and at one time a host of players involved in the creative process, in this case artistic. Artistic collaborations appear, disappear, and interact continuously with each other on site, whenever there is a presentation or an event. Internal solidarity is constantly being reshaped as a function of cultural endeavours”. - Converted brownfields have sparked new activities that can contribute to social integration. Take the case of the Belle de Mai. It began initially with the “Système Friche Théâtre” or “factory theatre” association that moved into part of the premises made available by the closure of the old tobacco factory located in 42 CULTURE AND LOCAL DEVELOPMENT - ISBN 92-64-00990-6 - © OECD 2005
Page 1 and 2: Culture and Local Development
Page 3 and 4: ORGANISATION FOR ECONOMIC CO-OPERAT
Page 6: Table of Contents Executive Summary
Page 9 and 10: EXECUTIVE SUMMARY the operation of
Page 11 and 12: EXECUTIVE SUMMARY new projects; and
Page 13 and 14: EXECUTIVE SUMMARY is the fact that
Page 15 and 16: EXECUTIVE SUMMARY A new agenda for
Page 17 and 18: INTRODUCTION Yet these attitudes gr
Page 19 and 20: INTRODUCTION a basis for developmen
Page 21 and 22: INTRODUCTION Defining cultural reso
Page 23 and 24: INTRODUCTION - the one where cultur
Page 26: ISBN 92-64-00990-6 CULTURE AND LOCA
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ISBN 92-64-00990-6 CULTURE AND LOCA
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CONCLUSION - DESIGNING LOCAL PUBLIC
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BIBLIOGRAPHY Bretton, H., (2000), C
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BIBLIOGRAPHY Frey B. & W.W. Pommere
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BIBLIOGRAPHY Karachalis N.,E. Kyria
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BIBLIOGRAPHY Myerscough, J. (1988),
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BIBLIOGRAPHY .Raffin, F., (1999),
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BIBLIOGRAPHY Walker et al, (2000) P
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ANNEX 1 This distinction between sh
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ANNEX 1 consumption sales of each s
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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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ANNEX 2 Table 1. The identification
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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 116. de Filgueiras Gomes M.A.
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