This document provides an overview of a 4-year cultural intermediation project. The project aims to enhance the effectiveness of cultural intermediation in connecting communities to the creative economy. It involves several work packages over the 4 years, including scoping, valuation/mapping, governance, communities, and interventions. The document also summarizes international case studies in Delhi, Guangzhou, Medellin, Budapest, and Chicago, looking at their populations, creative sectors, policies, flagship projects, and issues of inclusion. Finally, it outlines the schedule for a project meeting, including presentations on cultural policy management, reflections from project partners, governance findings, and a field visit.

1. Cultural Intermediation
Project Overview
Phil Jones

2. Overall aim
To identify means of enhancing the
effectiveness of cultural
intermediation as a mechanism for
connecting different communities
into the broader creative economy

3. Year 1 Year 2 Year 3 Year 4
WP0 Scoping & Theory Building
WP2 Historic
WP3 Governance
WP1 Valuation & Mapping
WP4 Communities WP5 Interventions

4. Year 1 Year 2 Year 3 Year 4
WP0 Scoping & Theory Building
WP2 Historic
WP3 Governance
WP1 Valuation & Mapping
WP4 Communities
WP5 Interventions

5. ‘Communities’ into ‘Intervention’
Balsall Heath Ordsall or Hulme
~30 Community
expert witnesses
10 Community
Evaluators
6 members of
commissioning
panel
~30 Community
expert witnesses
10 Community
Evaluators
6 members of
commissioning
panel
Working with
Karen/Saskia to
unveil manifestations
of creative economy
within case study site
Training with Dave /
Victoria to evaluate
projects
Commissioning new
projects

6. Key outputs
• Working paper on location quotients for cultural
intermediaries by Lisa (submitted for peer
review)
• Paper by Karen & session by Saskia at RGS-IBG on
governance issues
– Two planned journal articles
– Book proposal being prepared for Ashgate
• Paper presented by Ian & Natasha on community
photography (submitted for peer review)

7. Creative Cultural Economy
International Case Studies
Phil Jones
Cultural Intermediation Project
Continuity Day, 27 September 2013

8. Scoping papers by
• Delhi: Yudhishthir Raj Isar & Navina Jafa
• Guangzhou: Yuanping Fang, Sisi Wang &
Xuewei Liu
• Medellín: Theresa Bean
• Budapest: Emilia Barna
• Chicago: Whitney Johnson

9. Budapest
• 1.7m population
• Capital of Hungary
• Largest city in
Eastern Europe
• C19 legacy of being
capital of a very
large empire

10. Chicago
• 2.7m population
• 3rd largest US city
• Largest city in
Midwest
• Legacy of civil rights
era migration
• Suffering from a failed
attempt to rebrand as
a global financial hub

11. Delhi
• Population 22m
• Capital city
• Surprisingly small
creative sector by
scale compared to
Mumbai/Bangalore
• 14.7% considered to
be below the local
poverty line

12. Guangzhou
• 12.7m population
• Part of 40m Pearl
River delta region
• Proximity to Hong
Kong / Macau
• Distance from
Beijing gives more
governance
flexibility

13. Medellín
• 2.7m population
• Second largest city
• Around 2700 creative
enterprises in the city
– Assets totalling
~£346m
• Significant problems
relating to drug
cartels

14. • Birmingham Population 1.07m
– Greater W Mids region 5.6m
• Manchester 503k, Salford 234k
– Greater Manchester 2.6m
• Both regions below average representation of
core creative activities

15. Policy and strategy

16. Medellín
• Plan Columbia, $7.5bn US strategy
– Strengthening state institutions, reducing power
of cartels/paramilitaries
• Social Laboratories for Cultural Entrepreneurs
(LASO) funded by Columbian Ministry of
Culture in 2009
• Columbian Coalition for the Creative
Industries (CCICC), with Ministry of Culture as
a partner

17. Medellín
• 2004 Mayor Fajardo introduces Integrated
Urban Project, tackling social, economic,
physical issues in tandem
– Botanic gardens, Science & Technology Park,
Moravia cultural centre
– Emphasis on safety e.g. cable cars crossing
contested zones of the city

18. Medellín
• Participatory budgeting – since 2004 5% of
city budget allocated to projects
produced/voted for by local communities
– E.g. 2010 Communa 11 gets resource for cultural
events aimed at community integration
– But very technical and difficult for local
communities / groups to draw down the resource

19. Guangzhou
• Recommendations on the Tenth Five Year Plan of
national economic and social development 2000
– First official mention of ‘cultural industries’ as one of the
modern service industries driving new economic growth in
China
• National 11th Five Year Planning Outline of Cultural
Development, 2006
– Importance of ‘chuang yi chan ye’ (~ ‘creative industries’)
noted
• The Plan of China’s Cultural Industries Promotion, 2009
– Cultural industries thus ranked as one of ten key industries
nationally

20. Budapest
• State funding still key to culture (private capital
just 4-5% in 2003)
– Soros withdraw after EU accession
• Music recognised as a key driver in earlier plans
– Bartok heritage
– But not included in the New Szechenyi Plan 2011
• Podmaniczky Programme (medium term
development programme in Budapest, 2005-13)
major aim to decentralise and democratise
Budapest cultural life
– But still highly centralised

21. Chicago
• 1986 Cultural Plan under Mayor Harold
Washington
• 2012 Chicago Cultural Plan under Mayor Rahm
Emmanuel
– Major series of public consultation events
– Lays out a series of projects with different timescales
and budgets
– 34% initiatives under $50k, 17% over $1m
– Leveraging existing city resources (e.g. Parks buildings)

22. Delhi
• Much less attention paid to creative sector in
formal policy
– Focus on ICT and traditional industry
• Some exceptions e.g. National Design Policy
2007
– India Design Council established 2009
• Issues around taxation (e.g. in craft
production), hindering development

23. Flagship projects

24. Delhi
• National Museum in Delhi, 1949 is largest
museum in the city yet reports just 300 footfalls
per day in winter – problematic management and
audiencing
• Delhi ‘formal’ arts scene for theatre/performance
characterised by non-paying audience (although
in Mumbai people will pay)
– 30 auditoriums, 10 amphitheatres, 7 stadia
– dance, theatre, music, fashion events
– Plus neighbourhood level community halls (50
controlled by Municipal Corporation)

25. Delhi
• Auditoriums were built by government, but the
more successful ones are now sponsored by large
businesses and cost 10-100k rupees to hire per
evening, with some increase in ticketed events
– Bribes of free tickets etc. to secure official permits for
events
• Major public & public-private events
– SAARC Band festival, International Sufi Music Festival,
All India Bridal Show, Surajkund Crafts Mela,
International Arts Festival

26. Ram Lila
• Depicting scenes from life of Rama
• Sometimes very large scale events, including
parades through the streets to the Ram Lila
Grounds. Not reliant on Delhi based actors.
– Smaller scale, 25 non-profit Ram Lila companies
active in Delhi
– Increased use of digital tech for both staging and
live streaming

27. Animation sector
• ~30 year history in Guangzhou.
– 600 animation and game industries by 2012
– Worth 300bn RMB (£30bn), capturing 60% of
domestic market
• Guangzhou City Council 2006 policies on software
and animation
• New emphasis on IP
• From 2007 five years of city council support with annual budget
of 150m RMB to fund software and animation industries
• Movie version of Pleasant Goat and Big Grey Wolf
(2009) by Creative Power Entertaining, costs 6m
RMB, box office of 90m RMB

28. Top-down funding
• Budapest City Council culture budget 85% goes to
large permanent theatres (€6m in 2002, with
€1m allocated to smaller theatres and other
cultural activity)
– Operation of the National Theatre seen as somewhat
Stalinist in approach
• Controversial plans (revised several times) to
emulate the Vienna MuseumsQuartier
– Museum director resigned and not replaced
– Huge potential infrastructure costs

29. Inclusive creative cultures?

30. Whose culture?
• Budapest – some money for promoting cultural
identities, esp Jewish and Roma
– E.g. Kesztyugar (glove factory) community centre in district
8, associated with Roma population
– 27% Hungarians identified as openly xenophobe in 2007
• Guangzhou – Redtory now threatened with demolition
to make way for Guangzhou International Financial City
• Medellin – since early 1990s 40k+ 14-26 year olds
murdered
• Delhi – street performers seen as beggars and subject
to harassment

31. Ruin bars, Budapest
• Spontaneous/spontaneous-looking
• 6/7th districts, mostly pre 1919 housing stock
• Privatised post 1989, developers starting to
demolish and replace with more valuable
buildings
• Some attempts to give official protection which
led to owners abandoning ‘worthless’ buildings
• Become major tourist attraction
– Wombats Hostel, 400 beds
– Influx of designer boutiques, building on edgy cachet
and vibrant nightlife
– Complaints about noise in newly valuable district

32. Redtory Creative Arts District
• Opened 2009, covering ~12ha.
• Artists took over an abandoned fish canning
factory
• Creative possibilities of Soviet-era architecture
• Machinery repainted and turned into street art
• 50 galleries, design firms, creative retail,
restaurants etc.
• Planned demolition to make way for Guangzhou
International Financial City

33. Resistance
• From late 1980s early 1990s, culture becomes a
mode of resistance against violence in Medellin
• E.g. Nuestra Gente (our people) launched in 1987
to produce a creative space for community
• El Mocho, hip hop artist, started establishing
schools in late 1980s to teach hip hop, creating
an alternative to the gangs in the barrios
– ~3000 young people currently in Medellin hip hop
schools

34. Hip hop intermediation
• Crossing invisible gang territories can be very
dangerous
• But hip hop artists have a certain cultural
capital that allows them to cross borders
unharmed by the gangs
– But those who use music to protest against the
gangs can be under threat

35. Bringing everyone into the
conversation?
• 8 town hall meetings, 50 cultural ‘conversations’, 4700 ‘in
person’ engagements, 1500 follows on social media, 16k
downloads of the draft Chicago Cultural Plan
– Social media posts were screened by DCASE and nothing critical
appeared
– ‘Community responses’ from meetings included in the blog
were selected by DCASE
– Participants in meetings disproportionately from North Side (i.e.
not poor black south side, and Latina West side)
– Journalists noted highly structured nature of participation
events that stymied more open/critical debate
– Comments from Facebook wall were deleted and public no
longer allowed to post to it
• Shortcircuiting intermediation process?

36. Some connections
- Policy
- Funding
- Infrastructure

37. Policy intermediation
• Chicago a little nervous about unfettered
conversation
• Medellin, state continues to invest in culture
because of proven role in addressing chronic
social problems – participatory budgeting
though flawed can play an intermediation role
here
• Birmingham’s trial of participatory budgeting

38. Funding structures
• China: strong emphasis on state/municipal
strategic support, with centrally dictated targets
• Hungary: refocussing of state support, loss of
expertise at the municipal level, more difficult for
private sector to pick up the slack
• Birmingham/Manchester: withdrawal of state to
a handful of key institutions. Attempts to build
public/private initiatives elsewhere but limited
state seedcorn funding

39. Local state cultural infrastructure
• Delhi use of PPP to leverage resource for public
facilities (auditoria)
• Budapest
– Keep the flagships going at expense of smaller grants
– Manchester International Festival / Library of
Birmingham
• Proposals for Curzon Square Museum Quarter
now gone a little quiet
– Linked to HS2...

40. Today’s Schedule

41. 10.45 Cultural Policy Management, Value & Modernity in the Creative
Industries: lessons for the cultural intermediation project
Dave O’Brien, City University
11.15 Project partners, practice and reflections
David Tittle, MADE
Chris Jam, performance poet
11.45 Governance project: progress and findings
Beth Perry & Karen Smith, University of Salford, Saskia Warren,
University of Birmingham
12.15 Moving into the ‘Communities’ workpackage
Paul Long, Birmingham City University
12.45 Lunch
14.00 Field visit to case study site
Friction Arts, Deritend
15.30 Open discussion
16.00 Close (& drop-off at New Street Station for those heading home
by train)