Eight years out, preparations for a third UK city to be European Capital of Culture are already underway

The "superlambanana" figures were one of the symbols of Liverpool's year as capital of culture. Image: Getty.

In 2023, a UK city will hold the title of European Capital of Culture. This may seem a long way off – so long, in fact, that we still don’t know which city it’ll be. But the scale of the forward planning required by host cities means that, for those who have decided to bid, preparations have to begin now.

Since the title was first instigated in 1985, the title has been held by two UK cities, in two very different contexts. When Glasgow hosted it in 1990, the EU was still the EEC. What was then the “City of Culture” title was originally conceived as a way of celebrating traditional cultural centres, like Amsterdam, Florence and Athens. Consequently, there was a great deal of scepticism about a focus on culture in a city devastated by industrial decline.

Fast forward to 2008 when Liverpool held the title. To win it at all, it had fought off fierce competition – from Cardiff, Birmingham, Bristol, Newcastle-Gateshead, Brighton, Oxford, Belfast and Bradford amongst others. Back then the UK was in the midst of a “cultural boom”, with new arts facilities opening across the country. And in contrast to 1990, the government had a staunch belief in the regenerative power of culture for declined cities.

This belief had been inspired in part by things such as the impact that the Guggenheim museum opening in Bilbao had on that declined port city. Richard Florida’s now much critiqued book The Rise of the Creative Class – which suggested that luring in “creative types” could solve economically-deprived cities’ problems – played a part, too. Meanwhile, the Credit Crunch was just kicking in, and was beginning to shake the foundations of much ideology – including that of the EU.


Now, the UK is going through the bidding process again, and we’re once again in a very different era. Now public spending is being cut, and arts facilities are more likely to be closing than opening; the focus on development in our cities has shifted, allegedly, on to science, technology and engineering.

In contrast to the last biding process this time only three UK cities have so far definitely thrown their hat into the ring: Leeds, Milton Keynes and Dundee. The spending cuts no doubt made many authorities shy away at the money required to be involved. The European Project that saw the birth of the title, meanwhile, has not seemed so precarious in decades.

The Liverpool experience

I was born in Merseyside and was working in the arts in Liverpool during the build up, delivery and aftermath and that city’s title. I now work in Leeds as it ramps up its bid and, although much about the context is different, the sense of déjà vu is palpable.

I have often been asked about my experiences by Leeds residents. Questions like, “What effect did it have on Liverpool?”, “Was it ‘good’?”, “Did it change the city?”, and “Did it benefit the people?”

These are big questions which, to me, do not have simple answers – but I think it was positive for Liverpool and has had lasting effects. At a fundamental level I believe it helped transform the attitude of the city. Despite the terrible impact of spending cuts, in particular on some of the city’s poorest residents, seven years on from holding the title, Liverpool is still thrusting to develop in a way that was unthinkable in my youth.

Back then, the area had been psychologically brought low by extremely rapid economic decline and the huge social effects of this. Merseyside lost 80,000 manufacturing and transport jobs between 1972 and 1982, a rate that, ironically, only really Glasgow could be compared to. By the ‘90s, there was almost an acceptance of failure and malaise, as demonstrated by the consistently thwarted attempts to build an arena for major events.

2008 also saw this 50 foot mechanical spider on the side of a Liverpool office block. Image: Getty.

 

When the 2008 bid was won it was a game-changer: the city had to up its ambition to deliver this huge project. Since then, it’s managed to keep much of that momentum, despite its spending power being hammered by central government cuts. There were of course other factors in the city beginning to turn itself around – increased private investment; government and EU Objective One funding – but 2008 provided a crucial focus and concentrator for change.

The development of the Capital of Culture programme for Liverpool was a bumpy road, with changes of management and direction, political point scoring and media cynicism to contend with. But in the end a large and diverse programme was delivered, which for the most part visitors and locals appreciated.


The challenging thing about Capital of Culture bids are that it’s a lot harder than organising the Olympics. With the latter, you know, pretty much exactly, what’s expected of you. But what is “culture”? Museums, opera, architecture – okay. But what about pop music, poetry slams, graffiti, graphic design, comedy, sports, food, dialect, philosophy, ways of living? Trying to please everyone is a real challenge – and, as with all forms of art, subjective.

Liverpool demonstrated its fair share of fine art collections, historic architecture and cutting-edge theatre, but the city was also canny enough to include the everyday and pop culture in its bid. It even hired Keith Carter, a local comedian playing his “Scouse character” Nige, to meet the judges, rather than trying to gloss over the way that the city has been viewed. From pub singing to experimental eletronica, giant street theatre to community projects, Gustav Klimt to Bill Shankly: in 2008, all these things were showcased.

In a way the process of developing and submitting the bid was almost as important as the win – and this is something other cities would do well to remember.

Liverpool began by examining what was already culturally great and significant about it, which was an important boost to local pride and confidence. Once prompted to think about it, Liverpool citizens realised it had a lot going for it, despite its negative national image at the time. Post-2008, this negative image continues to be slowly chipped away at: the city was recently highlighted as a top 10 global destination by both Lonely Planet and Condé Nast Traveller.        

Lessons learnt

In Leeds, the context is different. It has a stronger economy, and in many respects a better image.

Yet, by its own admission, it lacks a national cultural profile – this despite boasting one of the highest concentrations of dance companies in the UK, three art schools, the principle opera company in the north of England; despite being a centre for sculpture; and despite having one of the biggest fields of learning disability arts in the UK. So what should Leeds’ bid be?

I would suggest the same thing to any place that is considering bidding: a city should ask itself exactly why it is doing it. What does it want to achieve with the title? Only when it has answered should it ask, “What is unique about our city and how do we want to celebrate it?”

It’s important for cities to learn from the successes and failures of others – but copying slavishly or trying to create a programme, merely to appeal to bid judges, is doomed to failure. By focusing on a city’s strengths, and through talking to those across the wide spectrum of its arts and cultural community, from grassroots initiatives to international directors, the outline will begin to write itself.

There’s one thing that urban authorities should have learned over the last few years as more and more places have competed to be “cultural cities”: having the same things as everywhere else is not necessarily helpful. In the globalised art world, why would you travel far to look at a Jeff Koons work in Leeds, Dundee or Milton Keynes rather than Venice, New York or Miami? A point of difference and celebrating local cultures in their many forms serves the tourists as much as the locals.

“International” culture is still important: bringing in the best from around the world can inspire both citizens and visitors and give new perspectives to local artistic communities. But the focus should still be on the city itself – asking, what does it want to achieve and develop – then working with international artists to enhance that, rather than slavishly following trends.

This happened too. It involves the Women's Institute and Sky, but we don't claim to understand it. Image: Getty.

As well as celebrating what is already great in a city, the title can be brilliant as a catalyst for new initiatives. Often this has manifested itself in a big new cultural building.

A new building can be great, but it can also be a burden and a folly if it is unneeded and unsustainable, and the title can also be a spark for developing things in other ways. Is there an art form that is neglected in the city? A local talent from the past forgotten? A historic site in need of a new use? What problems is the city facing that arts can maybe help contend with?

In other words, cities shouldn’t merely use the arts to gloss over problems or demolish “problem” areas for new venues. They should use them to ask questions and involve people in conversations, looking for solutions at a more holistic as well as a large-scale level – something exemplified in Liverpool by projects such as Homebaked and the Turner Prize-winning Granby 4 Streets.

This wider involvement is, to me, the other key. Every city of any size has a band of creative people toiling away to make interesting things happen. A city that wholly ignores its own talent pool for “better known” or “international” artists is doomed to issues and lack of legacy.

Similarly, though, the title should not just be about pleasing the agendas of local artists and arts organisations: just as crucial is the enthusiasm and engagement of the wider populance of the city. In Liverpool, indeed, the judges said that local enthusiasm for the bid helped swing the title in the city’s favour.

So mass participation and large-scale events, yes, but also in-depth engagement with local people. Liverpool being European Capital of Culture, and the boom in arts around it, aided me, from a pretty humble background, to have a career in the arts. It can do that for citizens of other cities too.

Those leading bids should not be afraid of “fringe” programmes, even if they question what’s going on in the “mainstream” one. One of the best things about Capital of Culture in Liverpool was how the very concept was creatively questioned and scrutinised. Artists and activists in the city used the attention the title brought to create work which questioned UK-wide issues such as the Housing Market Renewal Pathfinder and orthodoxies around culture and regeneration. This in turn helped shift the national conversation around them and open up paths to new views and ideas. If deconstructing the very idea of the title and its effects isn’t cultural, I don’t know what it.

“Legacy” is a word that comes from the lips of everyone involved in such titles – but creating one is easier said than done. A big new building is a legacy, but only if it can be sustained. More grassroots spaces for arts might be another one, but not if there’s already plenty.

More ephemeral things like committing to long-term training programmes or youth arts initiatives can have more impact, including in the economic sense that all local authorities have an eye on. But more than that, they have the potential to genuinely inspire the next generation of artists in a city who’ll lead us who knows where.

I’m glad that, despite the harsh climate, some UK cities are still bidding for European Capital of Culture. And I wish them well. Winning the title won’t solve all the problems of a city or transform it, socially or economically. But it can be an amazing celebration and a rewarding process, a catalyst for change, a training and testing ground for many – and an inspiration for many more.

 
 
 
 

Outdoor dining is a lifeline for restaurants, but cities don’t always make it easy

(Jamie McCarthy/Getty Images)

In downtown Toronto, café owners Toula and Peter Bekiaris were recently granted something to help them through the Covid-19 pandemic: a piece of the street outside their doors.

They got this space for their pastry and coffee shop, Filosophy, through a city-led initiative called CaféTO, created in response to the pandemic. The programme helps clusters of neighbouring restaurants want to set up outdoor patios on streets or sidewalks. As part of the initiative, Filosophy was able to expand from a two-seater bench out front to an eight-seat curbside patio, allowing it to welcome back patrons to a plot of the street separated from traffic by orange and black pylons.

“To have that little slice of pre-Covid feeling is rejuvenating for sure,” Toula Bekiaris says.


As the pandemic brings a generation of bars and restaurants to the brink of collapse, cities everywhere are seeing businesses spill out of their front doors and onto nearby sidewalks and streets. For many desperate small business owners, it’s their last best hope to claw back any business at all.

Bekiaris said the program brought her block back to life – but it also left her with a question. Toronto bylaws don’t normally make it easy for bars and restaurants to have sidewalk and curbside patios. She wondered, “My gosh, why are we not able to do this more regularly?”

Many cities have long had strict rules and steep fees that govern outdoor dining in public spaces. In places that were slow to adapt, or that haven’t adapted at all, this has caused tension for restaurant owners who are just trying to survive.

In Tel Aviv, for example, a schnitzel restaurant owner was filmed begging police to not issue him a ticket for having tables on the sidewalk outside of his shop. In New York City, businesses openly flouted rules that initially forbade outdoor eating and drinking. In the typically traffic-clogged Lima – the capital of Peru, one of the hardest-hit nations in the world for Covid – patios are scattered across sidewalks, but don’t have access to street space, which is still mainly centred around cars. “In the present-day context, the street has never been more important,” urban designer Mariana Alegre writes in a Peruvian newspaper.

As the terrasse aesthetic made famous by Paris and Montreal finds footing in cities that aren’t typically known for outdoor patronage, business owners and officials alike are finding that it’s not as simple as setting up some tables and chairs outside. The experiences of five different cities trying to embrace outdoor patios offer some useful lessons for understanding what can go wrong, and how it can be done right.

Vilnius


Vilnius was an early adopter of the outdoor dining trend. (Petras Malukas/AFP via Getty Images)

In April, the Lithuanian capital made global headlines for promising to allow bars and restaurants to use public space to set up a “giant outdoor café.”

“Plazas, squares, streets – nearby cafés will be allowed to set up outdoor tables free of charge this season,” Vilnius’s mayor Remigijus Šimašius said at the time.

There were good intentions behind the plan, but a report by nightlife consultancy VibeLab suggests the city didn’t quite pull it off. The Vilnius case study in the report says physical distancing was hard to maintain on narrow streets. There was a lack of government planning and communication. The city didn’t measure the economic impact of the initiative. Locals complained about street noise.

Mark Adam Harold, Vilnius’s night mayor and the founder of Vilnius Night Alliance, said in the VibeLab report that the “appearance of vibrancy in the streets of Vilnius led to a decrease in public support for the still-struggling hospitality sector, as people assumed the economic crisis was over.”

Still, the political will to do something radical – even if it meant mistakes were made in the process – can be a foreign concept in some places. Vilnius showed that change, often so slow in municipal politics, can happen fast in extenuating circumstances.

In July, Vilnius took it a step further, closing down some central streets to car traffic as a way to lure different kinds of people to the Old Town. “Cars cannot dominate the most sensitive and beautiful part of our city. Vilnius is choosing to be a city of the future now,” said Šimašius.  

New York City


New York City plans to bring back outdoor dining again in the spring of 2021. (Theo Wargo/Getty Images)

As soon as it was warm enough to eat and drink outside, New Yorkers were doing it. The empty streets and desolate sidewalks made it easy to claim a piece of pavement – prompting some to jump the gun on Phase 2 reopening. “I need every dollar I can get,” a Little Italy restaurant owner said, explaining his guerrilla patio to Eater back in June. “I’m hanging on by a shoestring here.”

Since those early pandemic days, New York City has moved to formalise outdoor dining, launching its Open Restaurants and Open Streets programmes. They allow establishments to set up sidewalk and curbside patios for patrons, and in some cases, even extend their restaurant’s real estate right across the street. The city says more than 9,000 businesses have signed up for Open Restaurants since June. It’s been such a success that the mayor’s office said it would do it again in the spring of 2021.

"In just two months, Open Restaurants has helped re-imagine our public spaces – bringing New Yorkers together to safely enjoy outdoor dining and helping to rescue a critical industry at the same time," said DOT Commissioner Polly Trottenberg in a news release announcing the 2021 extension.

Kristin Vincent is an owner of Sel Rrose, Home Sweet Home and Figure 19 in New York City, as well as a Sel Rrose location in Montauk. She says she already had a sidewalk patio permit for Sel Rrose in Manhattan’s Lower East Side prior to the pandemic, for which she pays approximately $25,000 annually, usually paid in three-month installments. When the last installment came due, the city waived payment.

Vincent says the city’s also been more lax about monitoring the sidewalk, which she has warmly welcomed. “They used to police outdoor seating – if you went an inch outside the zone of where you’re supposed to be, you’d get a ticket. If you stayed open for 10 minutes past when you were supposed to [close], you’d get a ticket. If neighbours were complaining that you’re outside, they’d pull your outdoor seating away. It was such an ‘honour’ to have outdoor seating,” she says.

Vincent sincerely hopes the city reconsiders its entire approach to outdoor seating even after the pandemic has ended – but she isn’t sure that’s realistic. While Home Sweet Home and Figure 19 have remained closed because of lack of outdoor space, she has had to manage a never-ending list of changing rules for the two Sel Rrose locations. Most recently, she’s had to contend with New York City’s ban on selling alcoholic drinks without food.

“Why can’t it just be drinks?” she asks. If the goal is to prevent the spread of Covid-19, she wonders why they’re still enforcing Prohibition-style rules on to-go drinks. Those little details add up, Vincent says, making it challenging for bars and restaurants to make money. Right now, the Lower East Side location is earning around 30% of the sales it made this time last year.

The nitpicking isn’t unique to New York City. At the Montauk location, she built an outdoor patio in preparation for opening only to be told it was in the wrong place. That said, that location is doing better (about 65% of sales) because the area is a phase ahead of the city, allowing for 50% indoor seating capacity.

She says allowing indoor seating will be critical to New York City bars and restaurants as summer turns to fall, and fall turns to winter. “We have to open inside – have to. We’ll even take 50%,” she says.

Montreal


Montreal reduced its usual fee for terrasse permits. (Eric Thomas/AFP via Getty Images)

Sergio Da Silva’s Montreal bar and music venue, Turbo Haüs, has been skating by on the thinnest of margins. The Latin Quarter business was closed for months, finally reopening as a terrasse-only bar in the second week of July. 

In terms of Covid measures, Montreal has pedestrianised key streets including St-Denis, where Turbo Haüs is located (for what it’s worth, it normally pedestrianises St-Denis during the summer). It also reduced the terrasse permit fee, and in Turbo Haüs’s case waived the $3,000–$4,000 it would have owed the city as reimbursement for the three metered parking spaces taken over by its mega-terrasse. But Da Silva still paid $2,000 to comply with the rest of the permitting process, including the $500 in permit fees he paid prior to the Covid discount.

Anecdotally, he says, it seems the city’s invitation to businesses to set up terrasses hasn’t been met with the kind of speed some businesses were hoping for. His neighbour across the street applied for a permit, and was still waiting even after Turbo Haüs opened. “The entire process just seemed more difficult than it was before,” he says.

It’s been a frustrating summer. It was supposed to be the bar’s time to squirrel away money for the quieter winter season. Instead, Da Silva says, he’s mostly just making enough to stay open right now. “This would have been a really, really good summer for us. We had everything in place to put a giant dent in all our debts, and we were looking forward to actually paying ourselves a livable sum. And then this kind of thing happened,” he says. He predicts this winter is when the thread that so many bars and restaurants are holding onto will finally snap.

“You should wait to see what it looks like in the winter slow season,” he says. “That's when a lot of places are actually going to be shutting down.”

Assuming most bars and restaurants won’t be able to operate at 50% or greater capacity in the winter, a small business rent forgiveness programme that gives money to tenants (rather than directly to landlords) may be the only way governments can prevent mass closures.

Tel Aviv


Tel Aviv's approach to outdoor dining left many restaurants wondering if they would be able to survive. (Jack Guez/AFP via Getty Images)

Tel Aviv’s outdoor patio story has emerged in fits and starts. In May, Israeli Prime Minister Benjamin Netanyahu told people to “Go out and have a good time”.

In early July, The Times of Israel published the video of the schnitzel restaurateur pleading with police not to fine him for having a couple of tables and chairs out on the sidewalk. “Business owners give this city culture, entertainment. There’s no work and I’m even fined! I have three kids to feed, where will I get the money from?” he cried.

Three days later, the Israeli metropolis published a news release saying it was sacrificing road space for on-street dining platforms in its trendy restaurant district, on Chayim Vital Street. The city also pedestrianised 11 streets, placing chairs and umbrellas in the new car-free zones to encourage people to use their new public space. The following day, the city gave restaurants only a few hours’ warning about an open-ended closure order, which many restaurateurs vowed to disobey. They won, but within the same month, 34 restaurants were fined for serving unmasked patrons.

The backlash Tel Aviv has received from the bar and restaurant industry has been deserved. The lack of clear guidelines, ever-changing rules and unavailability of aid and support has left many businesses in the lurch, wondering if they’ll ever be able to come back from Covid.

Toronto

In pre-Covid times, Harsh Chawla says his popular Indian restaurant Pukka would routinely turn around 250 seats on a normal Saturday. Now, in a summer without tourism, nor Toronto’s Summerlicious restaurant festival, nor indoor dining, his 24-seat curbside patio has been a saving grace. “I always say, anything better than zero is a win for us,” he says.

Chawla says he helped rally his neighbours around CaféTO’s proposal of shutting down on-street parking spaces in favor of dining nooks. He came up against worries that reduced parking would mean reduced business for them – a common concern that a growing body of research demonstrates is not actually true. Eventually his stretch of St. Clair Street West came to a compromise allowing for the conversion of some parking spots.

Trevor McIntyre, global director of placemaking at IBI Group, is a consultant on the CaféTO programme. He sees the lane and parking spot closures as big wins in a city that allocates an incredible amount of space to cars, even with mounting pedestrian and cyclist deaths. “We've slowed down traffic considerably – cars slow down, the whole pace slows down. You take away the on-street parking, and it encourages people to get out and walk. You start seeing higher volumes of people,” says McIntyre.

In this experiment, curbside patios and more heavily pedestrianised areas are driving more business to areas than parking does. Chawla likes the results.

“Hopefully we do this next year, and the year after, and the year after, because I think it gives us character to the street, it gives character to the neighbourhood,” says the restaurateur. “Our summers are so short-lived in Canada, in Toronto – so why not have more spaces outside so people can enjoy it?”

Tracey Lindeman is a freelance writer based in Ottawa.