Investing in culture outside London will help cool the capital and boost regional cities

The tarnished road sign for Abbey Road, near the Abbey Road Studios in London. Image: Sander Lamme.

Over the last 30 years, the once fringe interest in the role and impact of art and culture in cities has become a huge area of mainstream focus.

In particular its relationship to gentrification occupies the thoughts of many columnists and policy makers, artists and activists. 

Gentrification has been most apparent in the cities that ‘succeeded’ most in the transition to a post-industrial urban world – especially London and New York, which have seen once-deprived areas become enclaves of the wealthy at an ever-increasing rate.

While this is down to a complex combination of factors, the significant role arts and culture can play in gentrification been well documented. Such has been the expansion of gentrification processes that both London and New York risk eating themselves, as they become increasingly difficult to live in for anyone but the extremely well off.

The gentrification of these cities has been examined intensely because of its scale, but perhaps even more so because of the huge concentration of those in media, academia and the arts in London and New York and the impact it has had on the lifestyle of people in these sectors.

What this has perhaps masked, though, are the equally important issues around arts and culture in places that are the flipside to such overheated cities, the far greater number of under-resourced cities.
When industrial decline in the West really kicked in from the 1970s onwards, it impacted most on certain specific areas in an extreme way, such as my native Merseyside, or Glasgow. These could be written off by many at the heart of power as ‘localised failures’ whose decline was their ‘own fault’ for ‘failing to adapt’.

At least 40 years later, what is now clear is that places like Liverpool and Glasgow and Detroit were the canaries in the mine, as post-industrialisation and its impacts have spread across more and more places.

In the UK – outside of the increasingly bubble-like south east, economic stagnation is the norm, save for odd spots often relying heavily on success in specific industries such as Bristol (defence) and Aberdeen (energy), which themselves may well slump, impacting such places.

Bristol, booming again. Image: Shauking.

Outside of London, gentrification connected to the arts has had a less dramatic effect. One impact being that residential areas which have traditionally been popular with artists, public administrators, lecturers and the like, such as Didsbury, Jesmond, Stokes Croft, Aigburth and Chapel Allerton, are no longer affordable to them.

This section of society has therefore started to move into neighbouring – often more deprived – areas, and house prices have begun to rise there. This effect has been largely localised to very specific areas. New suburban housing built on the edges of cities is still more popular with the majority of the middle class in regional cities than most inner urban areas – nothing like the changes in London.
There has also been some impact on space for artists’ studios; music venues etc, being priced out of once abandoned industrial space for apartments, a recent example being Manchester’s Rogue Studios. Long-term leases for such buildings are also harder to come by than they once were.


However, in general, artists finding space, either residential or for the creation and display of the arts, is much less an issue in the regions than in big, capital-flushed cities. The far greater growing challenge for artists in the regions is being able to sustain a creative practice or organisation in such under-resourced areas.

While never easy, with the focus and money always on London, the ever-declining local authority funding for arts and culture, coupled with the closure of publicly supported venues such as theatres, museums and arts centres, as well as the reduction in the number of traditional ‘second jobs’ for creative practitioners (such as FE college lecturers), is a serious threat to the future of the arts and those practicing them in the regions.

With these local economies long having lost the core engines that gave them money to invest in culture now followed by the government cutting off support, this is not likely to get any easier.
There has slowly, after much campaigning, been recognition of the imbalance in central government arts and media funding and resources, and this is changing, but not nearly on the scale, breadth or depth needed to make a significant lasting difference.

There has been a focus on one or two government-favoured cities and investment often sporadic and patchy.

Of course, my focus on the arts is just one part of a much bigger issue – the huge regional economic and power imbalance in the UK, but it is a useful exemplar and something that could help create change in under-resourced areas.

In a different era in the 1950s and 1960s, when areas like Wales, Scotland and Merseyside faced economic challenge, a decades-long programme of investment was directed towards them, with companies effectively forced to invest in less prosperous areas.

The production line at Halewood Factory, near Liverpool. Image: Land Rover MENA.

While this was imperfect, it did in many respects create economic drivers that are still powering these areas to this day, such as the hugely successful Jaguar Land Rover factory in Halewood on the edge of Liverpool. A relentless focus on regional development on the scale seen in that era is what is needed to change the crippling imbalance in the UK, which has now started to eat away at London through its overheating as much as it has done in the regions for years.

As for the arts, the lack of opportunities and finance is much more an issue in the regions than overpriced space. In London, there’s a plethora of opportunities and no space. The solution is as simple as it is obvious. Undertake a long-term, large-scale, sustained investment in arts and culture in the regions.

Channel 4's London HQ, now under threat. Image: Stuart Caie.

There’s likely to be resistance, such as recently highlighted around Channel 4’s suggested move out of London, but at this stage it should be a win-win. London is so economically overheated that its arts and culture are being undermined, while in the regions, economic stagnation and cutbacks are undermining arts and culture.

The small-scale shifts in cultural policy and funding allocations over the past year or so have been a start, but what’s needed is a much bigger and longer-term plan to direct cultural investment and activity away from the capital. And indeed, what’s important for the creative sector is important for many other fields as well.

Would a government want to plan that far ahead and commit to that level of investment and change?

Evidence from the last couple of decades would suggest not, but further back there is a precedent. In these turbulent times it’s increasingly accepted, even demanded, that big change is needed across the country.

Such a large-scale regional cultural investment plan would be a welcome start. 

Want more of this stuff? Follow CityMetric on Twitter or Facebook.

 
 
 
 

A Century after radical leftists were elected to its city hall, Vienna’s social democratic base is slipping away

Karl Marx Hof. Image: Kagan Kaya.

Karl Marx-Hof, a kilometre-long municipal apartment block in Vienna’s wealthy 19th district, was first named after the father of the communist movement by Austria’s Social Democratic Workers’ Party (SDAP) in 1927. Its imposing structure borrows from an eclectic mix of modernist, Bauhaus, art deco, neoclassical and baroque architectural styles. In the mould of early soviet experiments, the building, nicknamed The Palace of the Proletariat, housed shared childcare services, gardens and washrooms.

The building is Vienna’s most prominent physical reminder of a period known as Red Vienna, when left-wing radicals found themselves at the helm of the Hapsburg’s former imperial capital during the aftermath of the First World War. 

After the collapse of the Austro-Hungarian dual monarchy in 1918, the SDAP won the fledgeling republic’s first elections held under universal suffrage and commenced an ambitious programme of social and economic reform. Leading intellectual lights of the party sought to unite the two great strands of the 20th-century labour movement, reconciling parliamentary socialism and revolutionary communism under their new current of non-Bolshevik “Austro-Marxism”. Karl Marx-Hof epitomised their radical ambitions. “When we are no longer here”, Mayor Karl Seitz told an assembled crowd of workers at the building’s opening in 1930, “these bricks will speak for us.”

When I visited Karl Marx-Hof on a sunny day in June, Monica and George, two of its residents, were walking their two Chihuahuas around the estate’s leafy, quiet courtyards. “We moved here last year,” Monica tells me. “It’s really nice because you’ve got a lot of green space in the middle of the city.”

The young couple are the beneficiaries of a generous system of public housing provision. Vienna has a relative abundance of high-quality municipal flats compared with most large capitals. “We weren’t waiting long for the flat – moving in here was really fast”, Monica says. Currently, 60 per cent of Vienna’s residents live in either municipally owned, subsidised housing, or in social homes run by not-for-profit cooperatives. The remaining portion of private homes is subject to strict rent controls and regulations.

The social democrats and their less radical successors have remained the dominant party in Vienna since the city’s first election, save for an 11-year hiatus of fascist dictatorship from 1934, followed by Anschluss and Nazi occupation from 1938. The city remains a red statelet in an otherwise conservative country. Indeed, Austria is now more associated with the far right than the radical left. But even Vienna is no longer immune to the trend of waning support for centre-left parties that has gripped European countries since 2008, and cracks are beginning to appear in its social democratic project.

Two exhibitions in the city – one in the former communal wash house of Karl Marx-Hof, the other in the grand Wien Museum MUSA – note the achievements of Red Vienna’s experiment in local socialism: the introduction of pensions and unemployment support; the establishment of a nascent public healthcare system; the opening of kindergartens, schools run on Montessori principles, public baths, open-air swimming pools, libraries, parks, leisure facilities, arts centres; and, of course, a programme of mass council house building, all paid for by a system of progressive income taxation coupled with duties on luxury goods, including servants, champagne, private cars and riding horses.

Unlike the Bolsheviks, (and partly because, as a provincial government, it lacked the powers to do so), the SDAP did not expropriate or nationalise factories or private industry without compensation, but instead paid former owners whenever buildings or land passed from private to public hands. The party built what it perceived to be the chrysalis of a new egalitarian society, while leaving the market and private ownership of the means of production largely intact. In many ways, its policies palliated the worst effects of early 20th century industrial capitalism like slum housing, mass unemployment and extreme poverty. Red Vienna laid the ground for the modern European welfare state, inspiring other social democratic governments across the continent to implement similar policies after the Second World War. 


“Back then the social democrats were good,” Monica tells me, attempting to calm her excitable dogs by pulling on their leads. Does she intend to vote for the social democrats in the upcoming national elections in September? “We vote for the blue ones,” she answers. Monica and George will cast their vote for the Freheitliche Partei Osterreichs (FPO), the Freedom Party, an organisation founded after the Second World War by a former Nazi minister of agriculture and high-ranking SS officer. “It’s because of all the refugees and all the violence that’s going on here,” she claims. “Shootings are more frequent in Vienna.”

Austria has one of the lowest murder rates in the world, almost half that of England and Wales, and Vienna itself is known for its relative safety compared to other European capitals. But hundreds of thousands of refugees have travelled through Austria over the last four years. Many have made the city their home, but most have transited towards Germany, at Angela Merkel’s invitation. The mass movement of people from across the Mediterranean to central and northern Europe has ruptured the country’s social-democratic pact. In 2016, Norbert Hofer of the Freedom Party narrowly missed out on victory in the presidential election, receiving 46 per cent of the vote.

“Lots of people say they’re just racists,” Monica continues, visibly uncomfortable with the idea that people would attribute malice or prejudice to voters like herself. But she hastens to add that her views, and those of her partner George, aren’t necessarily typical of Vienna’s affluent 19th district. “There are very rich people here, so they vote for the party who protects their interests… You’ll see a lot of big houses, so I think the OVP, the People’s Party, would do well.”

The OVP is the more traditional centre-right party of Austrian politics, and wins the most seats in the 19th district. Yet the city’s voting patterns are diverse. This is partly a result of the policies of successive social democratic administrations placing the integration of social classes and income levels at the heart of their municipal agenda. Subsidised housing can be found alongside wealthy private apartments in the city centre designed by Renzo Piano, and at the foot of the city’s vineyards near up-market wine taverns. Kurt Puchinger, chair of wohnfonds_wien, the city’s land and housing fund, tells me that the council “do not want to have a situation where you can identify the social status of a person by their home address.”

Despite the SDAP’s century-long efforts to promote social cohesion, recent years have seen the rise the FPO’s vote share at the expense of the left. Favoriten is a more solidly working class area of Vienna in the 10th district. There, according to Monica, “most vote for the Freedom Party because they are for stopping migration.” She pauses to consider her words. “Not stopping. Trying to find a way to filter them and control them. Every country has a problem like this.”

Monica’s feeling for the electoral preferences of each of the various Viennese districts proves accurate. After the war, Favoriten elected communists as their local representatives. The district's loyalties quickly switched to the social democrats, and until 2005 the party could comfortably expect to receive over half the votes there, consistently getting more than double the votes of both the far-right Freedom Party and the centre-right People’s Party. But in the most recent 2015 election, the Freedom Party won 24 seats and 38 per cent of the vote, only two points and one seat behind the social democrats. In Austria nationally, the People’s Party, headed by a 32-year-old leader, Sebastian Kurz, with Patrick Bateman overtones, has formed a government with the Freedom Party – but their coalition collapsed ignominiously in May.

Neither Austria as a whole, nor Favoriten in particular, are outliers. In France, Le Pen’s National Rally polls well in the Communist Party’s former “ceinture rouge” outside Paris. In Britain, Labour’s post-industrial heartlands are turning towards the Brexit Party, while blue collar workers in America’s rust belt have backed Donald Trump. And in Vienna, neither the impressive legacy of the SDAP nor the continually high standard of living (the city was rated as the world’s most liveable for the 10th time in 2018 by Mercer, the consultancy giant) is enough to stem the tide of right-wing populism.

Until he was unseated as leader following a corruption scandal in May, Heinz-Christian Strache positioned the FPO as the party of the working class, a guarantor of Austrian identity, and the protector of a generous welfare system now threatened by an influx of migrants. “We believe in our youth,” ran one of his slogans, “the [social democrats] in immigration.”

Sofia is a masseuse who has lived in Karl Marx-Hof for 19 years with her partner and his son. “People are angry with the social democrats now because of refugees,” she told me. “They should change this... They should say ‘we are on the left but we can’t accept everybody here.’” The view that the party have abandoned their traditional voters is widespread, but Sofia isn’t fond of the alternatives. “The FPO – the Nazis – you can’t vote for the Nazis… anyone who votes FPO isn’t my friend… But I won’t vote for the People’s Party because they do everything for rich people, not normal people.”

Sofia reserves her strongest criticism for the youthful Sebastian Kurz, who is likely to become head of another People’s Party-led coalition after elections in September. “I’m scared of him,” she says. “I think he’s a psychopath. I think he’s not a normal person.”

Like many Viennese, Sofia admires the legacy of Red Vienna: “The socialists did a lot of really good things. We are the only city in the world that has so much state housing. And they brought in pensions, health insurance, a lot of things.” But she’s not sure they will get her vote in 2019. In an era of polarisation and anti-establishment rhetoric, the most fertile yet unoccupied political ground seems to be for a radical, redistributive economic programme, coupled with a more conservative vision of shared responsibilities and values, national sovereignty, and sociocultural issues.

“Even in the working class areas of the city,” sighs Kurt Puchinger, the city’s housing fund chair, “less people are voting social democrat. And this is a pity.” 100 years since the old radical Social Democratic Workers’ Party was first elected by a restive, war-weary working class, the working class remains restive, but while the SDAP’s flagship Karl Marx-Hof still stands, the bricks no longer seem to be speaking for them.