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Cultures and Globalization Cities, Cultural Policy and Governance

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Cultures and Globalization Cities, Cultural Policy and Governance

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Unimelb Library: Electronic access
Accession Number:

melb.b5934791

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Sophie Prince
Natasha Devonish-Jordan

Model: Creative City
Advantages:
Melbourne aims to create sustainable economic growth by using the creative city model, whereby it is able to use the arts and creative industry (restaurants, hotels, music venues etc.) to support the wider economy.

The government supported the creation of soft infrastructure and vibrant public spaces.

The creative city (according to the reading) isn't at a the crux of most suburban and urban families daily existence; with "less than 10% of total workers in the suburbs commuting to the city". Indeed, they found that the suburbs doesn't uphold the stereotype of being "boring, homogenous and lacking urban ammenities". Many people "prefer the serenity of the suburbs over the dense networks and buzz associated with inner city life". Therefor, another benefit is that you have most a flourishing urban and suburban diaspora.

Disadvantages:

The creative city model is a top down approach. It focuses higher value on certain class of people and subsequently creates a lot of inequality.  Inaccessibility of land, which is a ramification of support for home ownership promoted in the 1970s, creates "monocultures" as support of the affluent class encourages gentrification. Therefore, it creates a lot of spaces for people to enjoy the city who have a lot of money. It does not address the needs of people in lower socio-economic settings. Facilitates advantages for a certain class.

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Qazim Karim
Jean Hair
Xiaotong XU
Na LI

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Lingxuan Zhang
Jin Zhao

Advantages:
-Highly commercialization.
-improve the imagine of the city as an international city and attract tourists all over the world.
-facilitating tourist economy
-Has a strong historical background and transfer historic preservation and cultural heritage to a tourist destination.

Disadvantages:
-Highly controlled by the government but still Highly commercialization paradoxically.
-Cultlural resources are concentrated on Beijing.
-one quite distinct from the normative expectations of the policy paradigms elaborated in the West
-too much stress on local living level.

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Ming Gong
Boxuan Tang
Xueqian Meng

We think that Shanghai could be identified as  'City competition: Toolkit-type approach' model.

Advantages：
Shanghai has considered as China's most western city, mainly because its cultural policy is relatively capital-oriented. Especially compared with Beijing, which is a symbol of traditional culture, Shanghai has no burden to inherit the traditions. Therefore, Shanghai could pursue  the concepts around modernization.

Short-term and rapidly developing in culture and tourism, such as Shanghai World Expo, because of multilevel investment, the cultural events in Shanghai could be well-funded.

Disadvantages:
Although Shanghai is a glamorous and modern city in China, the city is still highly controlled by the national government. Shanghai's cultural policy is  commercialized, but the content of arts, advertisements, entertainments are   still censored. In short, Shanghai as a modern, international city has not had completed "freedom" in arts and cultural industries.

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Heyuan Xing
Yuchao WANG
Jingsi WANG
Yitian CHEN

Model: Creative City
Advantages: There are various nationalities in the Melbourne, in other words, different nationalities have different customs and culture, hence, these different immigrators will create multicultural value to Melbourne. Additionally, this trend will also bring more creative job opportunities to Melbourne.

Disadvantages: with regard to the disadvantages, with the suburbanization of the Melbourne, those immigrators who cannot afford to the high living standard of the central city, are forced to move into the suburb. In other words, there will be few multicultural elements in the CBD of Melbourne.

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Haoyuan Pan
Jingyi Li
Chen Quan
Yin Huang

modle:
Flagship architecture

why:
High government funding

50% of spending on culture by the French state goes to paris

Build city brand
It has long sat at the center of world cultural network, and held an overwhelming density of major cultural institutions such as Louvre, the Pompidou Center and the Sorbonne

cultural resources transformed into export brands within France and abroad

Advantages:

A large number of cultural products are exported to increase cultural exposure
This Formes a unique cultural brand of the city and develops the city tourism

Disadvantages:
Authority of culture and arts will affect the cultural diversity
50% of spending on culture to Paris makes the country's governments do not have much funding to other regions.

Territorial inequality (Suburban Integration):

the suburbs benefit less directly from massive spending in culture while the distant provinces benefit far more from the other 50 percent of cultural spending in France.

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MODEL:
Creative City
Why: Integrates cultural needs into urban policy, involves a variety of agents, nurtures the "creative class", aims for sustainable economic growth and urban development.

ADVANTAGES:
-  Overall policy focus on culture
-  Globally connected (with a long history of global connection)
-  Diversity
-  Strong economic links with culture
- NYC's cultural preeminence
- Tourism
- Historical support for arts and culture has lead to world renowned infrastructure (e.g the Metropolitan Museum of Art, the Guggenheim NYC, etc)

DISADVANTAGES:
-  Diversity of arts & culture often privileges a few specific cultural groups
- Cultures that aren't a part of the "creative class" may not have access to arts and culture (both creation and attendance)
- Globalisation may have negative impacts on local art

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Haitao Li
Meng Gao
Zhiyu Lei

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Nan Qin
Chengyu Wan
Eran Ranatunge
YI YAO

Sao Paulo:

Between Cultural and Entertainment District Model and Creative City

Advantages:

- Rich in cultural diversity. Partially due to it historically being a migrant city and partially encouraged within the framework because of that.
- Strong tourism industry
- innovative project investments- 'projecto vovacional' is led by department of culture which is centred on audience development, not a hierarchical conception of culture . Implemented in public schools and cultural centres. A lot of this is based in sao paulo's existing arts base - run by established artists - important because of existing cultural context.

Disadvantages:

- unequal access to most of population outside of the central entertainment zone
- physical proximity - only funding for culture is libraries and parks outside of the centre. Lack of activity outside of cultural zone.
- education is not emphasised. Centred on production not consumption. This creates a lack of audience development and inability to access culture.
- cultural policy is not an emphasis because the way they approach the creative city is via a more laissez faire approaching. Lots of neoliberal policy in brazil so they have largely relied on business support.

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Michelle Gearon
Hannah Disher
Dalia Somi

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Muyun Zhang ， Jiayi Xu，Tingting Zhang，Shuai Yu 

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Muyun Zhang ， Jiayi Xu，Tingting Zhang，Shuai Yu 

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zilin xiang
wenya yang
youran liang
zhengyuan huang

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Amir Aridi
Anna Molnar
Kiri Degrenis

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Yingni Chen

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Lin Ya
Liu Yang
yuhang Du
sasa yang

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Jiawen qin Ziqi Shan

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1.       Amsterdam: A Multi-Cultural Capital of Culture
Simin Davoudi and Wil Zonneveld

2.       Creative City, City Marketing, Creative Industries and Cultural Policy: Challenges for Antwerp
Annick Schramme and Katia Segers

3.       'Creative Governance' in Berlin?
Janet Merkel

4.       Brazzaville: A Global Village of African Culture
Patrice Yengo

5.       Spectacularizing Fès
Justin McGuinness

6.       Reshaping, Installing, Pioneering, Spearheading... Re-aalignment of Istanbul
Asu Aksoy and Kevin Robins

7.       Johannesburg: Investing in Cultural Economies or Publics?
Edgar Pieterse and Kim Gurney

8.       Rich but Divided ... the Politics of Cultural Policy in London
Kate Oakley

9.       The Cultural Mapping of L'viv
Ihor Savchak and Linda Knudsen McAusland

10.   MarseilleS-Provence 2013: Cultural Capital, but for What Kind of Europe and under Which Globalization?
Ferdinand Richard

11.   Medellin: Tales of Fear and Hope
Octavio Arbeláez Tobón

12.   Melbourne and Brisbane: The Claims of Suburbs
Terry Flew and Mark Gibson

13.   Mexico City: Cultural Policies, Governance and Civil Society
Lucina Jiménez

14.   Mumbai: Historic Preservation by Citizens
Abha Narain Lambah

15.   New York City: City Culture as Public Display
David Halle and Louise Mirrer

16.   Paris: A Process of Metropolitanization
Stephen W Sawyer and Mathias Rouet

17.   São Paulo: Rich Culture, Poor Access
Maria Carolina Vasconcelos-Oliveira

18.   Shanghai: Images of Modernity
Justin O'Connor and Xin Gu

19.   Torino: A Change of Skin and More
Luca Dal Pozzolo

20.   Vancouver: The Enigmatic Emerging Cultural Metropolis
Catherine Murray and Tom Hutton

21.   Venice, Reloaded? A Tale of Urban Life (and Death)
Pier Luigi Sacco

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Model: City as Attraction & Creative City combination

Advantages:

Boost to tourism > sustainability for artists

Boost in arts education

Inclusive to those wanting to get involved in cultural events

Strong city brand

Beneficial to the development of creative industries

Offer good atmosphere to artists to try experimental arts

Disadvantages:

Resources limited to local residents

Not attractive to all kinds of people

·Prioritizing the interests of the creative class

Pressure of urban environmental and traffic management

Neglect of alternative art forms. I.e. indigenous art

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Zihan Wang
Yuan Zhong
Shuwei Xu
Yuhan Ding

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City has a population of 1.5 million and was the first Islamic city in Morocco and was recognised in 1981 as a UNESCO heritage site. The city has developed dramatically since the 1990s as a reaction to the Iraqi occupation of Kuwait and the Western response. The city has since aimed to emphasise spirituality over conflict.  The cultural development was piloted by para-governmental agencies, high profile individuals and regional and municipal authorities.  In the early 2000s wealthy foreign home buyers invested in Fes, which has seen further development of the cities tourism sector (hotels, bars, restaurants) and the city now has a concentration of  craft industries producing good for the tourist market.
The city has a clear heritage-promotion and cultural-promotion agenda.
Focus on Festival de Fès -->

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towards a pure tourist city with more and more its residents moving out the metropolitan area; it becomes too expensive to live

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- rebirth of a historical city as a cultural and arts image
- emphasis on culture and heritage recalls the memory of pre-industrial historical city

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- neglecting  the city’s working-class memories the city’s industrial history which both are still alive,  productive and able to contribute importantly to the future

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cultural cluster formular

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-  harmonizing different strata, to compose them in a shared vision, respecting and giving room to each different cultural dimension
- cooperation with the private sector
- facing challenge of intercultural dilemma

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1.	Marseille has a unique Cultural structure due to the novel combination of diverse factors -- the large number of towns involved; the area’s geostrategic position in the Mediterranean (at the junction of Europe and its neighbouring zone) and the long-term cultural structure of the area.                                                      2.	Two choices:          whether the cultural should still be preserveed in a isolated ‘protosphere’ or Unite all administrative services and administrative services to undergo a radical ‘mainstreaming’ for in the search for social cohesion?                                                         3.	Current status and issues：                        Marseille is seen to be needy and this kind of ‘positive discrimination’ reflects an unflattering image that the city’s residents would willingly leave this city. The hopes of finding business sponsorship have also been significantly reduced from the level they were pitched at when the bid was made.                                                                                      4.	several internal political restrictions:                              To ensure the uniqueness and continuity of ‘Marseille-Provence 2013’, there have several obstacles. Firstly, the project is hampered by a major event in the political calendar. Secondly, the proposed reform of the local government authorities. This reform, expected to enter into force in 2012, would mean that municipal responsibility for cultural matters could become either optional, obligatory or even might be done away with.

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1.	Marseille has a unique Cultural structure due to the novel combination of diverse factors -- the large number of towns involved; the area’s geostrategic position in the Mediterranean (at the junction of Europe and its neighbouring zone) and the long-term cultural structure of the area.                                                      2.	Two choices:          whether the cultural should still be preserveed in a isolated ‘protosphere’ or Unite all administrative services and administrative services to undergo a radical ‘mainstreaming’ for in the search for social cohesion?                                                         3.	Current status and issues：                        Marseille is seen to be needy and this kind of ‘positive discrimination’ reflects an unflattering image that the city’s residents would willingly leave this city. The hopes of finding business sponsorship have also been significantly reduced from the level they were pitched at when the bid was made.                                                                                      4.	several internal political restrictions:                              To ensure the uniqueness and continuity of ‘Marseille-Provence 2013’, there have several obstacles. Firstly, the project is hampered by a major event in the political calendar. Secondly, the proposed reform of the local government authorities. This reform, expected to enter into force in 2012, would mean that municipal responsibility for cultural matters could become either optional, obligatory or even might be done away with.

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Premise：

1.     This Mediterranean municipality has rich cultural assets and an enviable geo-cultural position.

2.     Face challenge in the context of globalization (notably migratory flows/worldwide trans-cultural connections)

3.     Facing strong competition

Potential：

1.     A great number of creative talents with diversity ethnic origins and cultural background.

2.     Solid infrastructure of artistic provision

3.     Cultural exchanges with other countries

4.     Affluent cultural heritage

Decay & challenge:

1.     After 1990s: a moderate decline in the arrival of European and non-european artist

2.     The industrial image obscures the city’s more attractive features

3.     Taking advantage of the blessing （becoming European Capital of culture）will depend on the city’s ability to harness its creative talents and this goal will not be attainable through local measures alone.

Policy：

1.     Investigate on and utilize the creative talents

Two (extreme) options：

1.     Global Creative industry：industrialise artistic production in ‘top-down’ flows. /in principle divergent from ‘cultural diversity’/ Works are mass (re-)produced, are highly entertaining, with a short life-span and low production costs, making them accessible to the resources of the private mass market. / The target is the world market.

2.     Proposes globalisation in the form of instantly multi-lateral, multi-level, multi-cultural production networks (therefore ‘bottom-up’): power is shared, equally or not, between different geographical extremes and varying weights./ Working within it, priority can be given to works of a more singular, lasting nature, which have a low turnover and a strong power of influence, clearly identified by their ‘territory’ of origin, possibly costly and unlikely to exist without public funding./ Every individual is a potential source of cultural production. / Targets appear through a fluctuating network of local markets, which are more or less interconnected.

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1. Multi-Level Government:
- Boroughs delivers specific cultural objectives.
- They are decentralised = freely decide on what to support
- They have shared responsibility between the boroughs and the federal government
- Boroughs commitment to arts and cultural programs and organisations
- 50% of their budget goes to social and cultural purposes
- Government, Borough and Senate all covers different sections of arts and culture so nothing is left out.

2. Economic Value
- Primary industry
- Convergence of economics and culture improves tourism
- creative industries accounts for 21% of Berlin's GDP and 10% overall employment
- Encourages cross-government coordination to generate clearer cultural policy objectives

3. Urban Branding
- Attracts tourists and creates investments opportutnies by creating distinctive cultural identity
- "Urban Competitiveness" creates local authenticity and produce
- Rebranding of the city creates a more multicultural and creative city

4. Cultural Diversity
- Multiculturalism is Berlins insignia (distinctive characteristic)
- Now there is funding for non-german artists

5. Identity Politics
- Creating a new identity for "new berlin"
- Help overcome the division between East and West Berlin
- Culture being the most important asset of Berlin creates a more global city
- Berlin seen a hub for a multi-purpose city "be open, be free, be Berlin" =  connection through recognising through differences = makes up Berlin's identity.
- neoliberal place-branding activities have the benefit of urban competitiveness * depends on your position

6. Governance
- Berlin is a entrepreneurial with its marketing and instrumentilising    of their culture *depends on your position

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1. Multi-Level Government:
- the Senets cuts can affect the brough's budget.
- Municipalities only have to fulfil what is required of them
- The disconnection between boroughs and Senate which creates a variance in the delivery in the cultural programs.

2. Economic Value
- Lack of cross-government coordination
- competence and clearer policy objectives

3. Urban Branding
- Overshadow the low employment and social welfare therefore these groups do not fit in the "vibrant cultural city" = poor but not creative so not part of Berlin
- Remodelling historical building into modern facilities

4. Cultural Diversity
- Lack of recognition of migration as a productive force
- Lack of infrastructure and inclusion

5. Identity Politics
- Still have two distinct cities
- neoliberal place-branding activities have the benefit of urban competitiveness * depends on your position

6. Governance
- they don't have a cultural policy
- no cultural policy, culture policy framework, not integrating the social, economical and educational aspects in one framework
- complex governance structures with dispensed responsibilities

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- to revamp Venice as a site of cultural production
- install a creative community in the area
- reuse existing, unused spaces (infrastructure)

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1.utilising unused spaces gives accommodation opportunities to artists;
2. small amount of investment

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1. "to revamp Venice as a site of cultural production", is it just that simple???
2. tourists management? anything needs to be done about it?
3. the purposed idea seems to only attract elite/creative minds, what about those who just want to live a normal life? what about the original venice residents who were forced to move out of the area? would the new idea bring them back?

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Disadvantage

1.Currently Erratic French Cultural Policy
2.In this context, it requires considerable daring on the part of a French city to seek to become a European Capital of Culture and is bound to create innumerable pitfalls. If the political elites have the vision and the courage

Advantage

1.

Therefore the French State will soon have to harmonize its international commitmentsUNESCO’s 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions

2. This city-region must finally accept the reality of its own patterns of immigration

3.Accepting the internal diversity。

The moral contract which should link MP13 to its inhabitants will operate within this delicate balance : trust artistic innovation, trust the people, because, in Marseille, the one should not prevail over the other.

Background and examples

The European project increasingly calls the country’s established models of cultural policy into question. These inward-looking models have aimed traditionally to achieve national prestige and influence, to propagate an official state culture. Until now the prerogative of the central state, the making of official cultural policy followed a single model, possibly reproducible at the local level

Marseille’s polyglot population. But France’s cultural diplomacy remains a domain reserved for a ‘diplomacy of influence’, essentially aimed at strategic goals which have little to do with cultural rights. This is a strikingly incoherent position

in other words from a model of cultural ‘democratisation’ to that of cultural ‘democracy’

Convention on the Protection and Promotion of the Diversity of Cultural Expressions

have to harmonize its international commitments

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Model:  Flagship architecture-formula for urban revitalization

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Model:  Flagship architecture-formula for urban revitalization

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Disadvantages of the policy:
---are fragmented and poorly articulated

---no clear and transparent public mechanisms for the generation of new forms of funding or incentives/no sponsorship laws and sole funding strategy that of direct or indirect subsidies (not succeeded in generating permanent and transparent strategies of civil society connection and participation)

---the lack of coherence among the different levels of government involved

---the lack of a contemporary and participative vision within institutions

---have inherited the musty old structure of a system

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Working towards being a more modern creative city, as it is already culturally diverse and celebrates its history, but is implementing further urban revitalisation to interest both locals and tourists.

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- Extreme right wing party influence
- Studio space becoming expensive with the growth of high socioeconomic citizens.
- 'Innovation' concept used in a limited sense - More towards technology.
- Unreliable data providing contradictory conclusions about the role of arts and culture in the indicator 'creative industries.'
- The neglect of useful data has however, allowed a growth in research to elaborate policy measures for the creative industries.
- It failed to reach larger public as it focus on creative class.

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- Citizen participation in heritage management
- Retaining older buildings and spaces for historical and heritage value, therefore contributing to continued local identity over time
- Boosting tourism through restoring and maintaining tourist sites
- Provides cultural identity and sense of place for this city - branding

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- Diverse and tolerant City: different nationalities
- Strong identity
- A historical and aesthencally pleasing city centre: cultural policy in June 2010—urban development
- Heritage properties: " Museum at the River";  Red Star Line Memorial.

- Architectural projects:  the Dutch firm Neutelings Riedijk Architects was awarded the assignment after an international competition. The building’s concept refers to the history of Antwerp as a port city

- Creative knowledge economy, tourism, and urban regeneration

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Yan Gao
Yatong Wei
Jiayi Wang

Model: City in competition
-Advantages:
As the most modern city in China, Shanghai  attracted a number of foreign capitals and provided lots of opportunities for entrepreneurs and consumers, which accelerate the economic growth.

-Disadvantages:
Controlled by Central Government.

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-To find out more about the flesh and blood of these city-wide projects
-To enhance cultural reputation( gastronomy, the landscape, the art and music )
-To improve ordinary people's access to the unique Brazzaville arts and culture
-To  protect African values and ethos – the acknowledgement and use of indigenous knowledge systems to support the development agenda.
-To build cordial relations demands constant human interaction and social cohesion
-To cultivate the curiosity of the public and to encourage an education in art

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Premise：
The culture cluster appeared in Newtown and Johannesburg, nicknamed the "market", a unique region related to allowing different races and companies to move in this art space

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-  a vast gap between the principles and ideals with the realities
- Artists  create work that will appeal to tourists, but often resulting in the neglect of themes and journeys
-The notion of an aesthetic hegemony still remians barriers

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Advantages:
1. It can promote the boundaries of aesthetics, and promote local international reputation.

2. It is very interesting, attracting cultural enterprises, restaurants, bars and so on

3. all of these strategies are based on global positioning in a city to enhance their brand image.

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1。它不能被推广到全国各地，其影响是有限的固定区域。

2。这更多的演奏方法进一步疏远的文化部门和组织模式的性质恶化，使真正的参与和合作生产几乎是不可能的。

3，城市的艺术、文化和遗产部门不是这些计划的合作伙伴。

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+ festival attracts a large number of journalists, putting the city on the 'world's media map'
+ festival as a location for transnational engagement
+World Bank promised $US100,000 without 'strings attached' - indicative of global support
+enabled city to acquire global cultural distinction (in addition to UNESCO World Heritage listing)
+festival was one of the founding signatories of the Charter of World Sacred Music
+ created a network of social relations across both the city and the globe

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+ Festival de Fès often criticised for being too elitist - prioritising appeal to an international audience
+ one of only two festivals in the global south
+ politico-cultural complexities with growth of conservative Islamist political parties
+ received criticisms from both the Right and Left
+ cultural and heritage initiatives have political undertone
+ festival has gained a lot of attention and focus of governmental and para-governmental bodies while many key essentials of urban life remain unsatisfactory (education, reasonably priced drinking water, secure housing) (the Moroccan paradox)

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The cultural policy in the United Kingdom largely promotes the economic development based on the concept of creative industries. Especially, London as national capital and World City has a dual role in the cultural policy-making, which highlights the notion of liberal cosmopolitanism and urban entrepreneurialism.

London is home to the majority of the UK’s cultural and creative industries, hence had national implications, a good deal of focus was placed on creating a new administrative geography for London, a series of localized ‘hubs’ which concentrated support for cultural enterprises.

The hub strategy was also an attempt to cut across existing administrative boundaries-the hub at King ‘s Cross in north London, for instance, lay on the boundary of two London boroughs-Camden and Islington. Rather than place creative industry funding-programmes support within these boroughs, and hence within existing local government structures, an attempt was made to bring new actors into delivery of public services.

It became clear that such employment offers generally poor prospects for young people lacking relevant social contacts or unable to support long periods of unpaid work. IN fact women, ethnic minorities and the working class were strongly under-represented in the labour force. Thus public policy continues to struggle with questions of representation in cultural labour markets, amid rising concern in some Western countries about declining social mobility.

While the financial crisis and its aftermath are still having an effect on London and the UK’s economy, evidence has emerged that even during the boom, London’s cultural economy had not perhaps been quite as healthy as sometimes potryed.

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It already applies cultural cluster model through urban rebranding and city as an attraction model through cultural diversity.

Berlin could also implement the creative city model

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Model: Creative clusters
- Giving the citizens a sense of belonging, remain a "sticky place"
- Vancouver has attracted the highest proportion of artists, cultural workers and creators in the states
- the cultural economy is well-developed in a mature economic system which protect the high and lively arts

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Advantage:
- Short burst of success through key events such as Olympics and positioning yourself as a World City

Disadvantage:
- Constant shift between meeting global needs and those within the community itself (which is more important at which time period?)
- Cultural policies tied to politics and may impede progress
- In London, in the mid-2000s, the combination of concern about instrumentalism, the lack of

evidence that creative industry polices could ‘deliver’ on social inclusion, and pressure from

the sectors for a more industrial policy, focused on more promotion and exports and less on

social inclusion and regeneration, led to a rapid change of direction.
-   Instead of the

focus on entrepreneurial start-ups and new policy actors that had dominated the early years of

New Labour, larger firms and cultural institutions were increasingly the trusted vehicles of

public policy.  Instead of hoping for

an economic miracle from independents, regional economies were seen to need a boost from

the big players.

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Brief introduction：
Istanbul seek to position itself into "global cities'', and experienced a change in neoliberal dynamic. There are changes associated with a weakening of local democracy.

Advantages:

-prevent discrimination based on cultural identity

（European culture& Muslim culture）

eg. Public campaigns through schools to ensure eradication pf all kinds of prejudices based on cultural identities of individuals and communities.

-protect cultural heritage

eg. Beyoglu district

Disadvantages:
-There are a number of challenges of cultural governance within its jurisdiction. 1.The question of the rich but decaying historical legacy.
2.A consequence of the historical legacy of the district,  namely its non-Muslim character and lifestyle, which one translated into its distinctive 'west-End' ethos.
3.Contemporary artistic and cultural creativity, for this is also, in the rapidly transforming Istanbul context.
4.About Identity.
5.The most decisive aspect of the new urban cultural governance agenda.

Model: “cultural” cluster formula

The government aims to change Beyoglu from cultural and heritage installations through to shopping centers and cultural leisure spaces to attract more tourists and consumers.

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- lack a consistent cultural identity
- not yet have a strong commercial art market
- there're many individual stars but no artistic super-brand

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- Lack of sustainability due to low economic investment in restoring old buildings
- Makes Mumbai attractive to tourists with its historic places, but not providing enough economic and social value for local people (e.g. working on superficial at expense of major issues like poverty)
- Tenants of heritage listed venues are in derelict and unsafe buildings - owner can't tear down building for new development, but doesn't have the economic incentive to invest in upkeep

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- on the international stage, Vancouver is growing in terms of innovation and cultural leadership, however progress is slow and difficult to measure
- creative clusters e.g. granville island
- pluralist, participatory, progressive
- 2010 winter Olympics - mixed results, uncertainty about benefits
- sense of belonging
- Vancourverism

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problems：

l  nobody in this city dares to question the sometimes-stifling clause of a kind of obligatory ‘Mediterraneanism’, which would tend to suggest that there could be no justification for deploying the cultural expertise of MP13 outside the Mediterranean.

l  There is another painful problem: the lack of coordination - even the competition - among the Cultural Council of the Union for the Mediterranean, the Anna Lindh Foundation and the initiatives of the Spanish International Cooperation Agency (AECID). every player plays its pawns according to its own interests. The image given by this diplomatic confusion is abysmal, and hardly let us to see MP13 will be a Cultural Capital.

merits：

l  Because the competition is fierce, they enhance the visibility of MP 13 in the world, well beyond the Mediterranean (but not without it), through certain specific attributes and skills that our geo-cultural region possesses more fully than others do. These include the range of cultural activities: places of artistic creation, public sector support for culture, integration of contemporary creation with local heritage, gradual improvement of a formerly devastating cultural tourism, interdisciplinary cross-fertilisation, decentralised cultural cooperation, etc.

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Shahn

‘Creative City’ model

ADVANTAGES:
- encourages and promotes artistic practice and development (creates jobs for “creative workforce”)
- provides audiences with access to state-of-the-art facilities and opportunities to participate and enjoy art (providing access to world-class entertainment is of particular importance in Australian context given the ‘tyranny of distance’ between Australia and other cultural capitals)
- boosts tourism which, in turn, stimulates the local economy
- encourages further investment from national and state government (financially and other)

DISADVANTAGES:
- elevates land value (leads to gentrification)**
** however, the migration of a city-based creative workforce to as a result of gentrification may contribute to the growth and prosperity of arts and culture in the suburbs and regions, therefore creating external benefits (creative cities create creative suburbs?)
- this model does not always prove to be successful
- follows a top-down approach (does not seek the wants/needs of locals)