Art and Culture in Overheated and Under Resourced Cities

By Kenn Taylor

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 not insignificant 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 70s 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’.

40 years later, what is 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 island-like South East, economic stagnation in 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 and impact such places.

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. So this section of society has started to move into neighbouring often more deprived areas and house prices have begun to rise in therm. This effect though 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 Rouge 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 of an issue in the regions than in big and capital flushed cities. The far greater challenge that remains and in some ways grows 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 the money always being 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, threatens far more the future of the arts and those practicing them in the regions than issues with the property market. 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 a recognition of the imbalance in central government arts and media funding and resources and this is changing, but not nearly on the scale, reach 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 decade’s long programme of investment was directed towards them, with companies effectively forced to invest in less prosperous areas. While this was imperfect, it did in many respects create economic drivers which 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.

Coming back to the arts. In the regions, a lack of opportunities and finance is more of an issue 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. 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 its arts and culture are being undermined, while in the regions, economic stagnation and cutbacks are undermining arts and culture there. 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 no, 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 good start.

This piece was published by New Statesman CityMetric in September 2017.

Post-Industry, Art and Play

By Kenn Taylor 

An 1880 painting by John Atkinson Grimshaw, Leeds Bridge, depicts a view of the River Aire that is still recognisable today; the heavy-duty ironwork of the bridge, the substantial brick warehouses, the bend in the river towards the church in the distance. Yet today, the riverbank that was clearly a hive of dirty industry in 1880, is now bound by offices, bars, flats and hotels.

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Leeds Bridge (1880) by John Atkinson Grimshaw. Leeds Art Gallery.

Similarly, in Liverpool, on quaysides where ships once unloaded their cargoes, there are now restaurants, galleries and arenas. In Teesside, the modern stadium of Middlesbrough Football Club sits on the site of old chemical and oil tanks. In Castleford, West Yorkshire, a huge indoor ski-slope has been built over a former colliery. Such has been the well-worn path of the last 30 years. The manufacturing and heavy industry that dominated the landscape of the North of England being replaced by service industries and leisure sites – with art and culture related projects forming a key part of this.

What a contrast from the 19th century of Atkinson Grimshaw. In the Victorian era, the booming industrial cities of Northern England built their edifices of art and culture usually as far from the factories and wharfs that paid for them as possible. In Leeds, from the Art Gallery on the Headrow to the Parkinson Building of Leeds University, a cultural sphere was built that was firmly separated from the hive of industry down the hill around the River Aire and the Leeds and Liverpool Canal.

But with the rapid de-industrialisation in the UK from the 1970s onwards, a reversal took place which saw sites of industry turned into sites of culture. Sites expected not to just reflect the wealth and sophistication of localities as did the art galleries, museums and concert halls of the Victorian era, but rather to be the economy through generating tourism, attracting inward investment and encouraging the ‘creative’ industries. So from the Wales Millennium Centre in the old Cardiff Docks, to The Hepworth Wakefield adjacent to abandoned textile mills, Gateshead’s Baltic in a disused flour mill and London’s Tate Modern in the former Bankside Power Station, art occupies spaces once dominated by industry.

This has not been a wholly un-problematic shift though. Debates abound about the culture, leisure and service fields not providing the same number or same quality of jobs as the industries they have replaced; who can enjoy this new urban culture and who has to serve in it? Not to mention the thorny issue of gentrification; property developers frequently promote cultural activities to create buzz, increase demand and drive up prices, which inevitably pushes those with more limited means out of some areas. The question remains though, just what do you do with large areas of old industrial land once it is no longer required for its former purpose? ‘Post-industry’ a phrase though bandied around a lot is still a relatively new phenomenon. It took a long and difficult time for society to adjust to the industrial revolution and it’s likely to take just as long to adjust to the post-industrial one.

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Leeds Bridge, 2015

Back to Leeds, whose industrial base did not collapse in the 1980s like other cities, but which has seen a significant contraction since the end of the 1990s. One of the key closures was the Joshua Tetley Brewery, an important industrial site in the city for nearly 200 years until production ceased in 2011. The key development on the brewery site since its closure has been the opening in 2013 of The Tetley, a new centre for contemporary art and learning based in the brewery’s former Director’s Offices.

The re-development of the old brewery forms part of a much wider regeneration plan for the ‘south bank’ of the River Aire, where many other former industrial sites are in the process of being converted into new sites for education, offices, homes, and the like. Into all of this, plans are now afoot by The Tetley to bring art outside of its building onto Brewery Green, the new open space that sits on part of the former plant. The intention is that that Brewery Green will soon be home to a new major piece of public art that will be some form of ‘play sculpture’, an artwork that can be interacted with rather than merely appreciated at a distance.

I am presently Curator of Participation at The Tetley. This is the kind of job title that itself has only emerged in the post-industrial era, as not only the location and reasons for civic art and culture have changed in our contemporary urban world, how we expect citizens to engage with it has shifted as well. Once the rarefied artworks collected by diligent industrial philanthropists were guarded heavily in their grand public galleries, lest they be damaged by the citizens they had been ‘given’ to. Out of doors, bronzes of local dignitaries were maintained in public parks amongst manicured garden beds as a symbol of civic pride. Yet ‘Keep Off the Grass’ was a key part of the culture, these creations guarded just as in galleries by a diligent band of uniformed keepers. Culture of one form or another procured in theory for citizens, but often without their consent and only to be engaged with in a prescribed ‘correct’ way.

Later, in the Modernist era, despite the pretence of change, works such as Victor Passmore’s concrete Apollo Pavilion in Peterlee newtown, County Durham, despite ostensibly being more open and democratic works of art, were in practice usually just as imposed and distant from local people, with progressive ideologies falling through the cracks of patronising and bureaucratic structures. The Pavilion quickly, inadvertently, becoming an un-loved place where teenagers got drunk and vandalised, though more recently local views towards it have apparently softened.

In our contemporary era of public art there is increasingly a wider acceptance amongst the public and commissioning bodies of broader ideas, and of people’s engagement with art and culture being as important as an art object itself. From Luke Jerram’s Park and Slide turning a Bristol high street into a waterpark, Carsten Höller’s shimmering carousel works and the sheer variety of Anthony Gormley’s Fourth Plinth project in Trafalgar Square, to art collective Assemble creating a scrap playground at Baltic Street in Glasgow and people clambering around in the startlingly blue, copper sulphate environment of Roger Hiorns Seizure at Yorkshire Sculpture Park: a less precious approach to engagement with culture has developed in tandem with its relocation. Where once public artworks were made to be appreciated from afar, engaging and ‘playing with’ art in the urban environment is, in many cases, now encouraged. Just as the gallery has shifted from the pillars and marble of the past to the cleaned-up old industrial site, so to we have shifted from distanced appreciation to valuing a more robust and open-ended interaction with art in the public realm.

This shift is summed up well by Usman Haque, designer of the fountain and light installation in Bradford’s new City Park; a great shallow pool that is invaded by families on any given sunny day and that has been a key catalyst in re-imagining the centre of Bradford: “I’m interested in how the designer of a system can best support ordinary people’s creativity, by being neither too prescriptive, and therefore unable to accommodate the unplanned, nor too unspecified, and therefore giving no firm take-off points, for people to contribute meaningfully.”

Similarly, institutions like The Tetley are not merely about the display and enjoyment of art as were the civic galleries of old, but primarily focus on its creation and production. The lines between these have become blurred in the way that mirrors wider changes in urban society. Where once industry was in the centre of the city in dirty, noisy brick-built factories, today what remains has usually been sent outwards to the distant industrial zones on the edge of town. To ultramodern, clean plants sometimes deceptively quiet. Back in the city centre meanwhile, in buildings near to the old Leeds Bridge and The Tetley, restaurants and bars sit in old warehouses, people design computer games in former foundries, skateparks thrill in old engineering plants, data centres sit in redundant chapels, new colleges occupy old printworks. Yet in tandem, the growth in the likes of craft breweries, knitting groups, urban food growing and hi-tech ‘fab labs’ have seen people re-discovering the value, and fun, of making, and small scale, local production in urban centres, often led by artists.

Culture in today’s post-industrial, post credit-crunch cities is now often not only expected to be a catalyst for economic development, but to generate actual income. Yet there has been a move away from the Grands Projets of the early 2000s, of multi-million pound statement ‘starchitecture’ that was alone meant to transform areas, economies and people’s lives. Post-industrial cultural regeneration continues apace but, much as bold statements in concrete foundered as Modernism’s ideals collapsed, so too largely has the palaces of the Neo-Liberal regeneration agenda. Meanwhile an interest in smaller scale, more open-ended and people focused projects has grown alongside the previously mentioned trend back towards craft and local making. This was exemplified by the nomination for the 2015 Turner Prize of London-based collective Assemble, for their work to support the regeneration of empty homes in Liverpool with a local community group. In many ways such actions are a return to the original origins of culture in post-industrial space. That is, instead of clearing away the past in some brave new vision, artists restoring things themselves, thinking long term and low cost and working hard to re-use the base of the old in new ways. Yet we remain in a post-regeneration era, when no one can ignore that, however well-meant such initiatives are, they do tend to help drive up the value of former industrial land, with many waiting in the shadows for economic opportunities presented by such grassroots initiatives. Will this new sense of DIY, craft, smaller scale and community focus retain its innocence or become another gentrification tool?

In it is into this context that Think. Play. Do., The Tetley’s exhibition of proposals for a play sculpture on Brewery Green, emerges. On one level it is about fun and wild open ideas; what would some artists, with limited constraints, create if asked to design a play sculpture for this site? However the project also asks, what even is a play sculpture, who would it be for and how would you ‘play’ with it? What role will it play in the regeneration of this part of Leeds and how will it relate to the context of where it is located?

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Brewery Green, The Tetley, 2015

The way we engage with art has changed, and so too has the way is it commissioned and produced. As well as the exhibition itself, the project is also a series of events, workshops, talks, publications, interactions and interventions that will all feed into what is an exercise in asking questions and trying things out. Think. Play. Do. is as much about us playing with ideas and concepts of art, sculpture, urban redevelopment and social and cultural change and seeing what happens as it is about selecting a ‘winning’ idea. We want a play sculpture on our post-industrial site, but we’re as much interested in how we get there as what we have at the end. This is a path that we hope ultimately results in a more engaging piece of public art that really resonates with this site’s former, current, and future use. Along the way we want to probe what direction the continued shifts in the use of the former urban industrial landscape as a site for leisure and culture may take. And of course, have a bit of fun while we’re doing it.

This piece was published to accompany the Think.Play.Do exhibition at The Tetley, Leeds in summer 2015. 

Baltic State

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By Kenn Taylor
Images by Pete Carr

From The Guardian to Lonely Planet, Tech City UK to RIBA, everyone is talking about Liverpool’s Baltic Triangle: a cutting-edge area of culture, nightlife and rapidly growing creative and tech businesses, all in a district that didn’t really exist 10 years ago.

So how did it develop – and what can other cities learn from it?

Baltic Triangle was originally an industrial area nestled between Liverpool’s city centre, its waterfront and its southern residential districts. As businesses folded or moved to newer premises elsewhere, many of its buildings, from 19th century warehouses to 1980s light industrial units, lay abandoned.

In the pre Credit Crunch property boom, sites closer to Liverpool city centre were occupied by artists and creative businesses, and the area saw rents rise, flats and shops built on venues and studios – all the usual tropes of stage two gentrification.

But 2008, as well as being the year of the Credit Crunch, was also Liverpool’s year as European Capital of Culture. While that served the property boom, it also gave creatives a weapon to fight against it, and Liverpool’s authorities faced a conundrum: how could a real capital of culture allow such things to be swept away by property development? The city needed significant external investment to develop its economy – but how could it also protect and nurture the culture that had helped to turn it around?

Not everyone could see the potential of an area which barely had street lighting – but a few pioneering organisations, such as Elevator Studios, could sense an opportunity. As Mark Lawler, director of Baltic Creative Community Interest Company (CIC), explains: “The people who make strategic decisions thought, okay here’s an opportunity to actually protect some space long-term for creative and digital industries so they don’t get pushed out as values rise.”

The Baltic Triangle’s name comes from it being a triangle of land near the historic Baltic Fleet pub. Some have suggested that the district emerged entirely organically; the reality, as is often the case, was a little more complex.

The way Lawler tells it, Merseyside ACME, Liverpool Vision, Liverpool City Council and the North West Development Agency (NWDA) got round a table, and discussed what assets they had available. “The NWDA said we have 18 warehouses let’s stick them in the pot and grab some grants to redevelop them.”

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A new organisation was established to lead this project – and after some discussion about whether it should be a charity or private firm, the coalition settled on the CIC as a halfway house. Lawler explains: “We have a community statement which is about supporting the growth of the creative and digital industries in the Liverpool City Region.”

Organisations such as Liverpool Biennial were encouraged to move to the area, and Baltic Creative CIC’s small units began to attract new creative businesses; soon, more eateries and venues were opening to cater for the growing cluster. Meanwhile, as the council improved the public realm, two new University Technical Colleges (one for computer games, one for life sciences) brought students to the area.

Carl Wong is the CEO LivingLens, a company innovating in the use of video in market research. Founded in late 2013, it now has eleven staff – “three in London, the remainder in Baltic”.

“We recognised that, for us to build a team and a talent pipeline, it would be much more valuable to be in the heart of a technology cluster that was really vibrant,” Wong says. “We looked across the North West and indeed across London and other places as well. For us it was clear that Baltic was at the heart.”

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But the Baltic Triangle risks being a victim of its own success as space runs out, he adds. “Baltic is full. There needs to be the right infrastructure there to engender more businesses to come and this momentum to continue.”

This is something the team at Baltic Creative are already working on. They’re currently redeveloping space on Jordan Street, which is already pre-let. They’re also planning 16,000 sq ft of creative business space in a former Guinness bottling plant on Simpson Street, and working on the new Northern Lights studio complex in part of the former Cains Brewery, both of which Lawler hopes will be on site within 2016.

But Baltic Creative isn’t the only outfit developing property in the area now it’s fashionable. As Carl Wong notes: “There’s a massive amount of development in and around Baltic – but it’s not necessarily to support new tech start-ups. There’s new halls of residence being built. You have retail development. It’s great to extend the vibrancy of the city, but it doesn’t support technology businesses.”

But Baltic Creative itself is working with some of these very developers to leverage new space for creative businesses, says Lawler. “We work with private developers to say, ‘You don’t want a ground floor, first floor problem of boarded retail units. We’ll take them off you and develop them and fill them full of creative and digital industries’.”

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So, is Baltic Triangle a model for other cities keen to nurture the creative and the digital? “We’ve done a bit of travelling and we’ve seen different approaches to creative clusters,” says Lawler. “The biggest difference that we have compared to any model I have seen is control and ownership. The sector here owns circa £5m worth of assets in Baltic Creative CIC. Let’s imagine in 20 years that’s worth £50m or even £100m – what that does is provide a bedrock for the sector in Liverpool to continue to grow.”

Through its CIC model, Baltic could offer space long-term to those in creative fields, rather than them just being a staging post in the property development cycle. Yet as Mark Lawler notes: “The market is moving faster than the planning.” The NWDA which supported Baltic Creative’s first phase no longer exists – and Liverpool’s authorities have only limited funds for development.

Baltic has the ability to grow creative space through the development of its own assets, but it will only be able to do this if it gets significant strategic and planning support from local authorities. Liverpool’s culture and economy needs it – and if it continues to succeed, it could also be a shining example to other cities. The planners helped birth this creative district: now they must help nurture and protect it.

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This piece was published by CityMetric, a New Statesman website, in June 2016.

“Culture for all”: So why is the UK government moving one of the north’s finest collections to London?

By Kenn Taylor

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‘There Will Be No Miracles Here’ by Turner Prize nominated artist Nathan Coley is viewed by visitors at Tate Liverpool in 2007. Image: Getty.

I can acutely remember my first visit to Tate Liverpool as a child. My mum, not a natural gallery goer, was looking for somewhere free to take me on a day out.

I knew little of famous artists – but one I had heard of was Andy Warhol, and I was deeply impressed to find that an actual thing made by this famous person was in the same room as me. Later I would realise that it was probably not made by him and indeed that was the point, but still, it left an impression.

It was not until much later, when I eventually found myself working in the arts, that I realised how lucky I’d been. Living in Merseyside after Tate Liverpool opened in 1988, I had relatively easy and free access to art works of international calibre. Not every regional city has a Tate.

I thought back to this when I heard that a big chunk of the National Photography Collection – around 400,000 items, currently held in Bradford at the National Media Museum – was to be merged with the V&A museum’s Art Photography Collection and transferred to the V&A’s West London site, thus forming what would be the world’s largest collection of the art of photography.

In the longer term, the merged collection will be transferred to a new “International Photography Resource Centre” at an as yet unidentified location – though the V&A’s planned vast new site in East London must be the most likely contender.

Meanwhile, the National Media Museum, a part of the Science Museum Group, will continue to shift its focus to “STEM” – science, technology, engineering and maths – and “concentrate on inspiring future generations of scientists and engineers in the fields of light and sound, as well as demonstrating the cultural impact of these subjects”. The Bradford site may even change its name, possibly to “Science Museum North”.

There is actually a logic in merging parts of the photography collections of the Science Museum Group and the V&A. The fact that the Science Museum holds the National Collection of Photography is largely down to the snobby historical anachronism amongst our national art museums: in the past, photography wasn’t seen as “real art”.
Cultural powerhouse

There is also a logic to the National Media Museum re-imagining itself. It opened in 1983 as the second National Museum outside London (the first was the National Railway Museum in York in 1975, also part of the Science Museum Group). Since then, though, the Bradford museum has been overtaken by rapid changes in culture and technology.

For most of its history the institution was the National Museum of Photography, Film and Television. But it was renamed the National Media Museum in 2006, to reflect the rise in other forms of communication and image-making, and a new internet themed gallery was instituted.

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The National Media Museum, Bradford. Image: DuPont Circle/Wikimedia Commons.

Yet even these moves have barely kept up with the speed of change. So drawing out some of the more fundamental ideas and principles beneath such technologies, and investing in new galleries around these – a £1.5m light and sound gallery will open next year – is undoubtedly a good idea.

Important questions remain though. Why do such new developments have to be at the expense of celebrating the art that is made by these technologies, which remains for many the most engaging thing about them? Also, if these collections are to be merged – and no doubt quite a great deal of capital will have to be invested in creating an International Photography Resource Centre – why does it have to be situated in London?

Why not move the V&A’s photography collection to Bradford, where land is cheaper, and the cost of living for low-paid culture sector workers easier? Or if not Bradford, why not to Sheffield or Birmingham or Newcastle, which so far lack branches of National Museums?

This move doesn’t seem to fit with the noises coming out of the government and its agencies. Those are all about shifting public cultural investment from London to the regions – something that, in terms of museums at least, began with the opening of the Science Museum’s York and Bradford branches. As culture secretary John Whittingdale recently commented: “I do think there is a danger that too much is spent in London and obviously what we want to do is demonstrate that the UK has fantastic cultural offerings right across the country and not just in London.”

Of course, the V&A can point to its investment in the vast new V&A Museum of Design in Dundee as its commitment to displaying its collection of some 2.3m objects in the regions. Elsewhere, huge investment is going into the likes of Manchester’s £110m giant new arts complex “The Factory” and a £5m new South Asia gallery at Manchester Museum which will display collections from the British Museum.

At the same time as these developments, though, Bradford’s collections are moving in the opposite direction – and elsewhere, there is even worse going on. The Museum of Lancashire in Preston, the museum of an entire county, is currently threatened with closure. The Museums Association has estimated that 42 UK museums have closed in the last ten years: the vast majority of these since 2010, and in the regions.
Branch lines

Back in the day, Britain’s regional cities didn’t need London museums to open “branches”. Their industrial wealth, and the patronage and tax base that came from it, paid for museums and collections that once in many ways rivalled those held in London.

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Liverpool’s Walker Art Gallery. Image: Rept0n1x/Wikimedia Commons.

The Walker Art Gallery in Liverpool, for example, has one of the finest collections of art outside of the capital. Yet its ability to continue to buy new work in the later part of the 20th century was curtailed by industrial decline. The same went for other regional museums across the country – if they could stay open at all – hence the need for branches and partnerships with national collections.

Of course, such partnerships and collaborations should be encouraged. But with such severe local authority cuts, must regional cities merely hope to borrow what London can spare? Meanwhile, with the National Media Museum itself under threat of closure as recently as 2013, can even branches be sure to have a secure future?

The problem is cultural investment in the English regions has been sporadic and inconsistent. Vast new grands projets are happening in some places, while much loved institutions are shuttered elsewhere. Some cities are experiencing a cultural boom; others are approaching cutting it off completely.

The classic argument for locating the likes of an International Photography Resource Centre in London of course is that more people will visit it. Hard to argue with that, but it’s not hard to achieve either, when a city has a population of over 8.5m and an endless supply of tourists.

The counter-argument, from Conservative Bradford councillor Simon Cooke, is that it means more to have significant cultural facilities in the regions. “You could – had you had the guts and vision – have based this new resource centre in the north, in Bradford, where they would have been loved and cherished it in a way you in London can never understand.”

If the state funds culture through the taxation of the entire population and through the Lottery, which has a disproportionate number of players in the regions, then surely arts funding should be distributed in a way that ensures maximum benefit to the entire population? Even whilst accepting that a bigger city will generally always have more culture and thus deserve a fair chunk of funding, shouldn’t public funding look to support places where it is less easy to access and find other sources of funding?

No young person interested in photography or media in London will go short of places to find inspiration. In Yorkshire or elsewhere though, they might. As the only person from a family of engineers who works in the arts, I applaud the fact that the government seems finally to want to reverse decades of decline in this area – and indeed, there are many high-tech companies around Bradford who need a new generation of STEM students to be inspired.

But must only the technically inclined be inspired? Computer games, one of Britain’s biggest software sectors, needs artists as well as programmers. Or, is Bradford expected to supply the technicians and London the artists?

What Britain needs is a long-term plan of cultural investment across all of the regions. One that develops and sustains institutions that are geographically accessible to all, provides regular funding that develops and retains talent, and ensures that quality collections are shared across the whole country. Without such a plan, pet projects and grand statements from our leaders about “culture for all” will just be empty gestures.

Whether this will actually happen remains to be seen – but a good start might be locating the International Photography Resource Centre in Bradford. My gut tells me, though, that East London will likely win the day. Because in the end, London always wins.

This piece was published by CityMetric, a New Statesman website, in February 2016.

8 Years to Go

Preparations for the third UK city to hold the title of European Capital of Culture

By Kenn Taylor

In 2023, a UK city will hold the title of European Capital of Culture. This may seem a long way off, but the forward planning required by host cities means that for those who have decided to bid, preparations very much have to begin now.

The title has been held by two UK cities previously since it was first instigated in 1985, both times in very different contexts. When Glasgow hosted it in 1990 the EU was still the EEC and with what was then called the ‘City of Culture’ title originally conceived as a way of celebrating traditional ‘cultural centres’ like Amsterdam, Florence and Athens, there was a great deal of scepticism about a focus on culture in a city devastated by industrial decline.

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La Machine, a Liverpool Capital of Culture project

Fast forward to 2008 when Liverpool held the title after beating 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, a staunch belief written into UK government policy of the regenerative power of culture for declined cities. This inspired in part by things such as the impact that the Guggenheim museum opening in Bilbao had on that declined port city and 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. Meanwhile, the Credit Crunch was just kicking in and beginning to shake the foundations of much ideology, including that of the EU.

Now in 2016 the UK is going through the bidding process again and we’re once again in a very different era. One were arts facilities are more often closing that opening and struggling to survive, when there’s been a shift in focus on development in our cities, allegedly, on science, technology and engineering, more clearly on generally harder economics, and on spending cuts in particular at a local authority level. 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 making 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.

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 by Leeds residents things such “What effect did it have on Liverpool?”, “Was it ‘good’?”, “Did it change the city?”, “Did it benefit the people?” These are big questions which, to me, do not have simple answers. I do think it was positive for Liverpool though and has had lasting effects. These have been various, but I believe at a fundamental level 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 Liverpool is still thrusting to develop in a way that was unthinkable in my youth in the 90s, when 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.

When the 2008 bid was won it was a ‘game-changer’ – the city had to up its ambition to deliver this huge project and has since 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, such as increased private investment and 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, were 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, which is generally how the bid is interpreted, 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, even hiring 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 it was part of it.

Superlambananas Take Over Liverpool
Superlambananas, a Liverpool Capital of Culture project (Photo by Jim Dyson/Getty Images)

In a way the process of developing and submitting the bid was almost as important as the win for Liverpool and this is something other cities would do well to remember. Liverpool began to examine 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 culture-wise in many different respects, despite its negative national image at the time. And indeed post-2008, this negative image continues to be slowly chipped away at, for example the city was recently highlighted as a top 10 global destination by both Lonely Planet and Condé Nast Traveller.

Leeds 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 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, being a centre for sculpture and having one of the biggest fields of learning disability arts in the UK, amongst other things. 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 bidding. What does it want to achieve with the title? Then when it has answered why, it should 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.

One thing that urban authorities should have learned over the last few years as more and more places have competed to be ‘cultural cities’ is 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 about the city itself: asking what does it want to achieve and develop? Then working with international artists and practice to enhance that, rather than slavishly following trends.

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. Again, look for ideas internationally, but use local needs as a basis. 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 are local creatives crying out for? Where there is low participation in the arts, what can be done to increase interest? What problems is the city facing that arts can maybe help contend with? Not merely using the arts to gloss over problems or demolish ‘problem’ areas for new venues, but using the arts to ask questions and involve people in conversations, looking for solutions at a more holistic as well as a large-scale level, as exemplified by projects in Liverpool such as Homebaked and Granby 4 Streets.

Indeed 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. Indeed in Liverpool the judges said that local enthusiasm for the bod helped swing the title in the city’s favour. So mass participation and large-scale events, yes, but also in-depth engagement opportunities should be made available in a more focused way for 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, and it can for citizens of other cities too.

Similarly 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, which 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 and again, 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 that some UK cities are still bidding for European Capital of Culture and wish them well. Winning the title won’t solve all the problems of a city or, on its own, transform it socially or economically. It can though 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 if done well.

Arts and culture can have a powerful effect on place and people, and if our cities are to grow and improve and adapt to the challenges of the 21st century, then, even in these strained times, that is something we need to not forget.

This piece was published by CityMetric, a New Statesman website, in December 2015.

Photos by Getty Images.

A Creative Alternative?

Photo of Bradford Odeon protest by P13 D
Photo of Bradford Odeon protest by P13 Digital Media

By Kenn Taylor

When I was a child, I was taken by my school to see a submarine launched at the Cammell Laird shipyard, a place that had been the raison d’être of my hometown, Birkenhead, for the last 200 years. I was given a flag to wave at the vast, metal object as it went down the slipway. My principle memory is of the scale of the place, as we stood dwarfed by the yard’s huge construction sheds and yellow cranes. What I didn’t quite understand at the time was that this was the end. This was the last ship that was to be built at the yard.

I would to come to realise this, though, and also that it was almost to mean the end of the town, reduced largely to decline and dependency on low-paid service-industry work, benefits and a small number of public-sector jobs. What happened to Birkenhead as a phenomenon has, if anything, increased elsewhere in my lifetime. The sort of decline that could once safely – for others – be said to be located in certain specific areas, has engulfed more and more places over the last twenty years in a rapidly shifting global world. What do you do with a place when its reason to exist has gone? Can it have a future? How can people suffering from the poverty generated by such situations have better lives and opportunities? These were the questions that plagued me as I grew up in a postindustrial area.

Economic decline is inextricably linked to population decline, both of which create surplus land and buildings. In the later part of the twentieth century, in certain urban areas such as New York, London and Berlin, this ‘free space’ was often occupied by artists and those seeking alternative lifestyles. Economically, this ultimately worked out for these cities, since while certain industries and the communities that had relied on them had been hollowed out, they had other industries to sustain them. In New York and London this was principally high-finance and in Berlin, principally government. So this occupation by ‘creatives’ actually helped re-animate what was, in the eyes of local authorities, ‘problem spaces’, bringing them back to economic use as they became fashionable and subsequently attracted new, wealthier residents. Such gentrification has been well documented.1 Writers like Richard Florida suggested that other postindustrial areas should adopt this model, becoming ‘creative cities’2  that attract the highly educated, highly mobile people who set up the likes of Google. This was seen by some civic leaders as a catch-all answer to stemming population decline, creating those lucrative ‘good jobs’ and so increasing the tax- and power-base of postindustrial areas. Based on these theories, many such localities spent big on arts venues, festivals etc aimed at regenerating disused space, attracting culture-seeking tourists and more importantly, those new ‘creative’ business-starting residents.

However, in many other cities, while empty buildings, declining populations and tax bases were also the problem, this solution was not so easy as in New York and London. In a place as large as a city, a ‘creative class’ generally needs a ‘real’ economy to feed off in order to enjoy a supporting infrastructure and audience. Shoreditch may emphasise its mental distance from The City of London, but without the latter’s finance industry paying for the likes of London’s advanced public transportation system via demand and taxation, along with everything from sponsoring theatres to buying artworks and commissioning designers, its ‘creative class’ would struggle. As any artist who has lived in a postindustrial city for any length of time will tell you, cheap rents and easily available space are important, but to lack easy access to a major market or audience (even in these internet days) is ultimately limiting.

While we may love them for their diversity, vibrancy and creativity, cities have since ancient times largely existed for strategic or economic reasons, formed out of convergences of power and money. This is why so many artists and creative people still move to New York and London despite the harsh costs and lifestyle. These cities offer potential for advancement that other localities do not, whether in terms of creative stimulation or more pragmatic personal opportunities. This is why economically successful cities are always centres of inward migration, people seeking their own piece of the growing pie, whether money or culture, which in turn helps gives birth to that diversity, vibrancy and creativity.

Throughout history, art and culture have generally emerged from economic centres that can afford them, rather than being expected to be the economy, or at least not solely. Some unique places such as Venice can, via tourism, achieve an economy based on their cultural histories. Yet even Venice has a shrinking population, which is causing it problems now that it is no longer a centre of manufacture, commerce and slavery. Indeed, despite all the new creative industries being talked about in postindustrial places like Detroit, such as the start-ups at the A. Alfred Taubman Centre,3  making cars is still actually the biggest part of the Detroit economy.4  Likewise, even as cultural-focused tourism does grow in Liverpool, its maritime and manufacturing trades are still bigger economic assets.5  Over in Birkenhead, even the old Cammell Laird shipyard has re-opened and is now booming.6  These most traditional of industries, which had declined for years, are still the main points of growth for such places as trade patterns shift, to a degree, back in their favour. Such growth remains vulnerable, but at least these localities are still playing a significant role in the global economic system, in fields, despite their reduction in staff numbers, that employ far more people than the arts are ever likely to.

In London and New York, the fight for space against the overwhelming power of capital is key, hence the constant shifting of ‘creative zones’ to the latest deprived area. In cities such as Liverpool, though, the fight is for capital or rather any way for the city (including its artists) to sustain itself without having to rely on cross-subsidy from elsewhere to pay for its services. The latter is a dangerous situation, leaving postindustrial areas vulnerable to the whims of the policies of often faraway governments.

Is there an alternative for cities other than to fight each other for a slice of global capital? To take part in a pact with the very ideology that brought down industrial cities? We should not forget that it was also this same ideology that gave birth to these cities and subsequently the culture that rose from them: be it Motown or The Beatles, Diego Rivera’s Detroit Industry murals or the metal sculptures made by Arthur Dooley, himself a former Cammell Laird welder.

Despite the continued economic reliance on transport and manufacture in Liverpool, cultural activity has played a big part in shifting both the perception and actuality of the city in the last fifteen years in a way that few residents would disagree has been an improvement, even if most would also agree there is still a long way to go. If, with the right cultural attractions and activities, a town can create a tourist business and transform external views of the place, creating a few jobs in the process, why would any poor locality not do so?

Are these cultural initiatives in postindustrial locations just window-dressing: a bit of art to cover over the economic cracks, encouraging higher-end tourism and providing something to do between inward investment meetings? A chance for globetrotting arty-types to ‘reanimate’ decayed spaces and help pave the way for developers? Or can they offer more?

I would argue that they can. Art’s real strength in this situation is how it can exist in a space between those at different ends of the scale of power and money. In this deeply imbalanced situation, real sway can be had, as Charles Bukowski once said, when ‘an artist says a hard thing in a simple way’. Art has the potential to cut though things, creating a channel through dysfunctional systems. Creative activism in the public arena can, by highlighting errors, showcasing alternatives and probing new solutions, make the prevailing forces of power, at best take a step back, or at least demonstrate to others the holes that exist within their plans and systems.

Such action in postindustrial areas can break the deadlock that can emerge from vested interests. Governments, local authorities, businesses, property developers, investors, even entrenched community groups, while often having plans that may be valid on one level, can, in the inevitable vastness of such organisations, end up letting neighbourhoods, even whole cities, fall down the cracks. As an example, we can look to Liverpool and how the Housing Market Renewal Pathfinder initiative affected it and other areas with mass housing demolition. 7  This plan emerged, no doubt with good intentions, from a think-tank at Birmingham University and was adopted by the then government as a way of regenerating postindustrial communities. Dozens of journals, petitions and surveys eventually began to critique this extreme approach. While these achieved a cumulative effect, ultimately they held less power and sway in general public and political opinion than two actions in Liverpool. In Anfield, the 2up2down/Homebaked project,8  re-opening a bakery that many thought had gone for good, and in Liverpool 8, community groups painting bright images, planting flowers and hosting a local market outside abandoned homes. All the secret meetings, investment strategies and ten-year-plans rightly turned to dust in the face of such an obviously more positive use of empty property reduced to ruin by socio-economic policies. Such initiatives may have impacts that are more emotional than practical, but therein lies the ability of such creative action to compete against, or at least square up to, those who control the money and power. Those with their hands on the levers inevitably struggle to respond when they are faced with a public demonstration of obvious failure and positive alternatives.

The question from critics though, and it is a valid one, is what next? When folly or injustice has been demonstrated, what alternative is there? Can such initiatives represent long-term solutions? Creative perforations can open avenues to new situations, but for real change they have to then grow into something bigger. In becoming more established and practical, such projects may lose some of their initial outsider power, but this is essential if such action is to instigate actual change and shift the balance of ideas, power and control.

For an example of this we can shift from Liverpool to Bradford, where creative grassroots action helped not only to save a grand Art Deco cinema from demolition, but began a total re-imagining of the potential future of the building. After being closed for several years, the Odeon was facing destruction, to be replaced with a new office and retail development,9  the need for which was questionable. Slowly, local opposition built into a ‘Save the Odeon’ campaign, with activists often utilising artistic impulses such as covering the building with ‘Get Well Soon’ cards, decorating it at Christmas while a brass band played, and even turning up as a group to clean its exterior to demonstrate that, beneath a bit of dirt, a fine building was languishing. These actions slowly won over more local people and even gained celebrity support from the likes of Imelda Staunton, Terry Gilliam and David Hockney. After much pressure, the demolition was eventually cancelled, with the local authority agreeing that the building should be retained in future plans for the area. The campaigners have subsequently formed into an Industrial and Provident society named ‘Bradford One’ and are now bidding to be allowed to take over the building themselves.10

Meanwhile, over in Detroit, the apparently sensible policy of reducing the city’s size in relation to its shrunken population came up against The Heidelberg Project, begun in 1986 by artist Tyree Guyton on the city’s east side. Initially, he painted a series of houses in Heidelberg Street with bright dots in many colours and attached salvaged items to the houses. He went on to develop the project into a constantly evolving work that transformed a semi-abandoned neighbourhood into a creative art centre.11  Twice it was faced with demolition by the Detroit authorities, and indeed some of it was destroyed. Yet, despite these setbacks, it is now a global tourist attraction with its own arts education programme for local schoolchildren, not to mention being one of fifteen projects that represented the US at the 2008 Venice Architecture Biennale.12

The question raised by those who wanted to see the demolition and removal of all these places was, ‘Well, what would you do with it?’ In answer, creativity was used against the overwhelming machines of business, media, government and prevailing orthodoxy, to open up alternative possibilities for these spaces. Such projects may not in themselves solve all the problems of a postindustrial city, but their operation in a more open-ended space outside of dominant ideologies can raise awareness, generate new solutions and galvanise people to action. After all, successful local regeneration is based on local enthusiasm for it, which, when people are already facing the multiple challenges of living in a deprived area, can be slow to start and quick to wane. Key to ongoing positive change stemming from such initiatives is the genuine involvement of local people in an in-depth way. The Bradford One and Heidelberg actions were both begun by people who already had a stake in the local area, while 2up2down/Homebaked in Anfield began as an external provocation from Liverpool Biennial. However, all of these projects ultimately took the time to win understandably sceptical people over from outside of their own circles and become rooted in local desires, rather than just agendas imposed from outside. Also vital though, is that such projects moved on from their initial creative perforations and formed organisations, sought funding, liaised with regulators, engaged wider publics and communicated with media and academia. Thus they created a momentum that became sustainable, even through inevitable setbacks and ups and downs.

So, having begun to develop initial provocations into projects with positive outcomes for communities, the question becomes, what next? How does the spark of an alternative become something sustainable or even a new way of doing things in postindustrial areas? The rights of the urban resident of the twentieth century were gained through practical action, engaging, even if aggressively, with the prevailing system and demanding a share, as well as through the development of solid alternatives that functioned effectively, even if these existed within a wider capitalist framework. Bodies from the Cooperative movement founded in Rochdale in 1844 to the early housing associations formed in 1960s Liverpool, determined that inner-city housing had a future, and so it remains today.

Having successfully fundraised via Kickstarter to open its bakery, 2up2down/Homebaked now seeks to establish a co-operative housing scheme13  as part of the wider redevelopment of Anfield, which is centred on a new stadium for Liverpool Football Club. In Bradford, the Save the Odeon campaign has formed into the constituted Bradford One organisation, which is developing proposals that, if successful, will see the historic structure transformed into a multi-purpose cultural venue and centre for creative enterprise. This will include an ‘asset lock’ ensuring that the Odeon’s future use will always benefit the people of Bradford.14  In Detroit meanwhile, the Heidelberg Project is planning to expand into neighbouring properties as part of a broader ‘cultural village’ concept for the area once the site has been secured from recent damage.15  The project’s development committee now includes senior staff from Detroit and Michigan local authorities, demonstrating quite a change from when Guyton spent much of his time fighting officials who wanted to shut down the project. His case was no doubt aided by the Heidelberg’s increasing popularity and global visibility.16

While global big business is probably here to stay, it seems that local control, whether it is of new business start-ups, arts centres, housing co-ops or bakeries, offers the best long-term sustainability for communities. Yet for this to happen, local people must be able to take control. The will must be there in the community for such initiatives, but provocations such as the above, by highlighting alternatives and breaking open new ideas, can have transformative effects, bringing people on board who never imagined they could ever have a voice or play a part in the future of their area.

However, controlling authorities also need to have the desire, or at least the will, to hand such power to communities. So will states grant such power to localities and will local authorities in turn divest power to their citizens? Even if this happens, will it descend into counter-productive factionalism? Perhaps in some cases, but as the examples above show, plenty of projects can exceed even the wildest hopes of their founders, if they are given the opportunity. It may be the case though, as projects such as these have demonstrated, that the only way to gain power is for such organisations to be formed, take the initiative and demand it, creating legitimacy though raising awareness and encouraging action. Equally vital is that the authorities provide the required financial support for such projects at the relevant time. David Cameron’s ‘Big Society’ idea of community solutions quickly fell on its face because of a lack of money, something even acknowledged by the academic who came up with the phrase.17  If you hand the levers of power over to people, but with no capital to be able to use them, positive effects will always be limited.

Creative perforations, such as those listed above, are in themselves valid, as a way to speak the truth to power, show an alternative and imagine new possibilities. However, if they are to have lasting effects, they need to change, morph and engage with the prevailing systems of power and money in order to achieve wider goals. This may require compromise, but such compromise will have much stronger social benefits in deprived areas than any academic treatise denouncing failures in the system from a faraway university.

Finally, can these projects be more than interesting perforations, a few gems standing out in otherwise troubled cities? Can they actually become new ways of organising postindustrial urban environments? If this is possible, such initiatives cannot exist in a vacuum. Power brokers need to be engaged and convinced that the system needs to shift and absorb these new ideas. In undertaking such engagement, projects like these may risk losing their outsider power, but they gain the potential to change many more lives and even of becoming new orthodoxies. That is, of course, until the need arises for the next perforation from outside of the prevailing order.

This piece was published in the Stages Journal #2 published by Liverpool Biennial in September 2014.

Footnotes

1  See, for example, S. Zurkin, Loft Living: Culture and Capital in Urban Change, Johns Hopkins University Press, Baltimore, 1982.

2  Richard Florida, ‘Cities and The Creative Class’, http://www.creativeclass.com/richard_florida/books… (accessed 24 April 2014).

3  M. Haber, ‘Meet The Makers: Rebuilding Detroit by Hand’, Fast Company (2013). Available at: http://www.fastcocreate.com/1682411/meet-the-maker… (accessed 20 April 2014).

4  T. Alberta, ‘Refueled: Domestic Automakers Poised to Lead Detroit’s Revival’, National Journal (2014). Available at: http://www.nationaljournal.com/next-economy/americ… (accessed 25 April 2014).

5  Liverpool Economic Briefing 2013, Liverpool City Council, 2013, p.9.

6  B. Gleeson, ‘John Syvret commits future to Cammell Laird’s’, Liverpool Echo (2014). Available at: http://www.liverpoolecho.co.uk/news/business/john-… (accessed 1 May 2014).

7  I Cole & B. Nevin, The road to renewal: the early development of the housing market renewal programme in England, Joseph Rowntree Foundation, York, 2004, pp.9–17. Available at: http://www.jrf.org.uk/system/files/1859352707.pdf# (accessed 22 Apr. 2014).

8  ‘2Up 2Down, a Community Land Trust and Co-operative Bakery for Anfield’ (2014), http://www.2up2down.org.uk/ (accessed 25 April 2014).

9  I. Qureshi, ‘Why does Bradford care so much about a derelict cinema?’, The Guardian, (2012). Available at: http://www.theguardian.com/uk/the-northerner/2012/… (accessed 1 May 2014).

10  About Us, Bradford One (2014), http://www.bradfordone.com/faq/ (accessed 1 May 2014).

11  The Heidelberg Project – Great Public Space (2014), http://www.pps.org/great_public_spaces/one?public_… (accessed 1 May 2014).

12  A. Goldbard, ‘Public Art as a Spiritual Path’ Forecast Public Art (2014). Available at: http://forecastpublicart.org/public-art-review/201… (accessed 1 May 2014).

13  Homebaked Community Land Trust, 2Up 2Down (2014), http://www.2up2down.org.uk/about/egestas-elit/ (accessed 1 May 2014).

14  Our Plans, Bradford One (2014), http://www.bradfordone.com/bradfordone-news/our-pl… (accessed 1 May 2014).

15  S. Welch ‘In wake of fires, Heidelberg Project rethinks goals, halts capital campaign’, Crain’s Detroit Business (2014). Available at: http://www.crainsdetroit.com/article/20140330/NEWS… (accessed 1 May 2014).

16  G. Anglebrandt, ‘Expansions in the works for Heidelberg, MOCAD’, Crain’s Detroit Business (2011). Available at: http://www.crainsdetroit.com/article/20110421/DM01… (accessed 22 April 2014).

17  P. Blond, ‘David Cameron has lost his chance to redefine the Tories’, The Guardian (2012). Available at: http://www.theguardian.com/commentisfree/2012/oct/… (accessed 24 April 2014).

A Culture of Participation

By Kenn Taylor

When it was announced that Liverpool had been chosen to be the 2008 European Capital of Culture, there was an outpouring of emotion in the city. After so many years of being the UK’s pariah city par excellence, the importance of the accolade to Liverpool’s collective psychology and how it was viewed externally cannot be underestimated.

Beyond the city itself though, of greater importance was how, whilst hosting Capital of Culture, Liverpool became the focus of intense debate and a subsequent sea-change in the way that many people think about concepts of culture, community, participation and regeneration.

Long before 2008 of course, Liverpool had a strong cultural output despite, or perhaps because of, its continual economic struggles. Even Liverpool’s bohemian enclaves are only a short walk from the most grinding poverty and this has always lent something of a DIY and a socially and politically aware spirit to arts in the city.

Arguably the first ‘arts centre’ in the UK was Liverpool’s Bluecoat, founded at the turn of the century in an abandoned school by rebellious spirits called the Sandon Studios Society, unhappy with the then traditional arts establishment in the city. Sixty years later a group of idealistic Liverpool University students set up the Everyman theatre in an abandoned chapel. They wanted to create a space for drama that would reflect ordinary lives and take radical perspectives, in doing so helping to pave the way for socially concerned writers like Willy Russell and Alan Bleasdale.

In another abandoned chapel, a group of radical creatives set up The Great Georges Community Cultural Project in 1968, arguably the UK’s first ‘community arts’ project, now still operating as the Black-E. Later, in the 1970s a group of photographers ignored by the art establishment set up shop in an abandoned pub. They called part of it the Open Eye Gallery and helped bring photographers of everyday life such as Martin Parr and Tom Wood to attention. Whatever public money was spent by the city itself on the arts in the post-war era was nearly always through the lens of ‘what will it do for the community?’ and ‘how will people connect to this?’ long before audience participation was a section on every Arts Council application form.

It was into this tradition that the UK’s choice of host city for the 2008 European Capital of Culture came into view. The hope in Liverpool was that winning the title would celebrate the city’s cultural achievements, so often forgotten or ignored, and also that it would help attract investment and create much-needed jobs. It was very much in line with pre-Crunch era Blarite ideas of turning post-industrial areas into centres for the ‘creative economy’ that the city’s bid went in. Liverpool was arguably the starting point for the application of such ideas of cultural regeneration in the UK. After the 1981 riots, the regeneration schemes in the city initiated by the then Conservative government included the opening of Tate Liverpool in 1988 in the city’s abandoned docklands. This long before London’s Tate Modern and Gateshead’s Baltic also turned redundant riverside industrial space in centres for culture.

Ultimately Liverpool was to beat favourites Newcastle/Gateshead to the Capital of Culture title. The judges who made the decision said it was Liverpool’s strong cultural heritage, future plans and most of all, the sheer enthusiasm of the city’s population for the bid that won the day. Yet, as that faithful year got closer, more and more people began to ask, what is it for and who will it benefit?

The criticisms tended to be two-fold. The property boom which was already engulfing the UK was accelerated significantly in Liverpool by the title. Soon grassroots music venues and artists studios began to be displaced by luxury flats. Capital of Culture it seemed was indeed helping to re-make the city’s fabric, but was it in a good way for its cultural scene? Secondly and perhaps more fundamentally, many people had objections to what they felt was too much focus on bringing an ‘international’ culture aimed at attracting tourists to the city and not doing enough to encourage local creative expression and involvement.

Accusations of the Liverpool Culture Company, who were tasked with running the year, being remote and lacking understanding of the local arts community were rife, if sometimes unfair. With art it is of course hard to please all of the people all of the time. However, these criticisms were perhaps summed up when a popular local Banksy work on an abandoned pub was covered over with Capital of Culture branded hoardings, something which even made Newsnight.

A whole swathe of independent fringe projects sprung up alongside the official 2008 cultural programme, often using creativity to highlight the above issues. In a city with such a tradition of DIY, rebellion and politics in art, this was perhaps inevitable. As time went on, more and more people began questioning the whole idea of the then dominant mode of cultural regeneration. With these issues highlighted by activists in Liverpool, national critics who had previously praised the cultural regeneration of Britain’s Northern cities began to write of their wariness of the ‘dropping in’ of art from on high to change things in post-industrial areas. There was a realisation that such initiatives were not necessarily bringing benefits to deprived communities, that in some ways they were making things worse and were perhaps ultimately unsustainable.

For a time, it seemed the whole Capital of Culture project was heading towards disaster. In the event, sterling work by all involved pulled it back. Ultimately delivering a programme that was varied and popular, ranging from experimental electronica to a Gustav Klimt exhibition and a play about Liverpool FC. Most local people felt, by and large, that it was a successful year, but also that how the city did culture in future would have to be different.

Yes, culture can bring up the visitor economy; witness Liverpool’s huge growth as tourist destination since 2008, recently nominated by Condé Naste Traveller as its third favourite UK destination after London and Edinburgh. Yet if the same type of art is available in London and New York, why go anywhere else? Uniqueness is what attracts visitors, culture they cannot consume elsewhere. Gaudi’s architecture brings many more people to Barcelona than the works in its contemporary arts centre, for example. More fundamentally, there was also a realisation of the need for a change in how cultural services interact with local communities. That publicly funded culture should not be just imposed from the top down, it should be developed with thought given to how different audiences can connect and become involved at different levels. In Liverpool this was perhaps just a return to the way things were done before, back to the era of the founding of the Black-E, the Open Eye and Everyman, but such thinking is beginning to embed itself within wider cultural policy and thinking.

Liverpool of course didn’t do this on its own, but the city has played a big role in debates about culture, participation and the urban environment over the last thirty years. A line could be drawn from the opening of Tate Liverpool with its ‘international culture’ coming North and its luxury flats next door, the beginning of the property and ‘new economy’ boom and the speeding up of the international art world to Capital of Culture and the Crunch and onto today’s greatly changed arts landscape, with funding reduced and audience criteria higher than ever.

Liverpool’s biggest cultural event since Capital of Culture was The Sea Odyssey Giant Spectacular in 2012 and it demonstrated some of the changes that had taken place in the way the city went about its cultural programme. Delivered by renowned French street theatre experts Royal De Luxe, the project was several years in the making. Much time was spent developing the story so that their giant marionettes, which have been seen around the world, had a local connection, in this case via Liverpool’s links to the Titanic. The procession also took in a route that encompassed Anfield and Everton, two of the city’s most deprived wards, not just the shining regenerated city centre and waterfront where so much of the 2008 programme had taken place.

Plenty of opportunities were given for local people to be involved via a Wider Participation Programme embedded from the start of the project. The Sea Odyssey Spectacular included volunteer roles ranging from ‘local advocates’ who promoted the event in the community to people actually operating the marionettes. In addition, much partnership work was undertaken so that local cultural organisations, community groups, schools, colleges and businesses could interlink their own initiatives to the event. For example, there was an accompanying festival in Anfield’s Stanley Park arranged by local partners. Consequently this event is much more fondly remembered in the city than the not dissimilar La Machine from 2008.

Similarly, while the Liverpool Biennial festival had always worked to encourage participation and engagement, for the 2012 event more focus was given to creating in-depth participatory projects. This included the Homebaked/2up2down initiative in Anfield, led by Dutch artist Jeanne Van Heeswijk. Over a period of two years, the project worked to embed itself in the local community and developed the ultimate aim of re-opening a closed-down bakery and restoring abandoned housing in the area. For the period of the Biennial itself, the group that had been formed around the project also created a tour for visitors based around meeting local people which highlighted what had happened to the area in recent years with the failure of various regeneration schemes. Thus the project helped to bring abandoned space back into uses that benefit the community and tell local stories to visitors.

Similarly the Biennial commissioned Los Angeles based artist Fritz Haeg to work with the local community on creating a new garden at the stunningly-sited but somewhat rundown Everton Park. Both the Anfield and Everton Biennial projects had aesthetic outcomes, but ones which also addressed real local issues and needs whilst still working with international artists in an international context. Indeed, these ‘community’ projects attracted as much if not more national press attention than some of the ‘mainstream’ art shows in the city centre held at the same time.

Thinking about culture in the city is also increasingly turning towards sustainability. As a legacy from the Biennial initiatives, the bakery hopes to be fully re-opened by the end of 2013 and plans are underway with the local community for the further development of Everton Park, including a new pavilion.

Liverpool as a city appreciates the power and importance of art and culture, but knows that it can not sit in rarefied isolation from reality and shouldn’t just be dropped in and expected to improve a community by its mere presence. This isn’t to say that all art must be totally instrumentalist; as much as Sea Odyssey had regeneration ideas behind it, it was also something that was in and of itself fun and interesting to watch, but with just changing how things were done a little, it became much more than that.

A culture of participation is healthy and necessary, especially as funding cuts continue to bite and publicly funded arts organisations are more than ever responsible to and reliant on their audiences. Projects such as these undertaken in Liverpool can show the way. That it is possible to commission and create work that benefits local people, entices visitors and excites the art world all at the same time and in doing so, create the possibility of changing lives and communities for the better.

This piece appeared on Mailout.co in April 2013.

Bread and Houses

The Anfield Home Tour

Commissioned by Liverpool Biennial

 

By Kenn Taylor

It’s rather surreal to be taken on a tour of a city you live in, but then this is quite a different tour. We start conventionally enough, by the Edwardian splendor of the Cunard building at the heart of Liverpool‘s regenerated waterfront, but soon we will be heading to the other side of the city – and the other side of Britain.

After we pile into the minibus, our tour guide Carl “with a C not a K, that’s just weird” Ainsworth announces that we’re heading for a district in the north of the city, Anfield. The word for many means solely the home ground of Liverpool FC, but Anfield is also one of the city’s oldest residential districts.

Welcome to the Anfield Home Tour, part of the Liverpool Biennial, the UK’s largest visual arts festival. The arts in Liverpool have always had something of a social conscience, and the Biennial is no exception; we are not heading to Anfield to look at football stadia or recently restored Stanley Park, but to learn some things about housing, community and regeneration.

Our first stop is Everton Park, where Carl tells us a story that sums up the British urban landscape in microcosm. From the top of the hill above the Mersey, there are amazing views across central Liverpool as far as the mountains of Wales on a good day. It was this view which led rich merchants to build fine houses here in the 18th century, some of which remain. With the expansion of nearby docks and industry, however, speculators built hundreds of densely packed terraced houses in the area, described by Carl as a “tidal wave”.

The merchants then moved further out, and a tight-knit working class community was formed on streets so steep that is some cases they had railings to help people climb them. Then, from the 1930s onwards, there were successive ‘slum clearance’ programmes, culminating in mass demolition in the 1960s. Many people were moved to overspill estates and new towns on the edge of the city. Others meanwhile lived out Le Corbusier’s vision of ‘a machine for living in’ at huge new high-rise blocks of flats. Some enjoyed scaling these new heights, and those old ‘tight-knit’ streets also often meant horrible conditions, but the dream soon turned sour. Carl reveals that some of these ‘new visions’ in housing were demolished fewer than ten years after being built.

In the 1980s, from the rubble of tower blocks came Everton Park , a green space on wasteland; but one with little thought given to its integration into the local area. Carl says: “Many former residents of the area come here to have picnics right where their houses used to be. You’d think from all that history, the powers that be would have learned.”

We find that they did not. Anfield was one of many areas in the UK subject to the Housing Market Renewal Initiative (HMRI). Despite the housing boom from the 1990s onwards, there were areas of the UK that stagnated, mostly in the north of England. The then government took up a report from Birmingham University’s Centre for Urban and Regional Studies. They decided what was needed was demolition, en masse, and new built homes, en masse. The process became the HMRI.

We arrive in Anfield to an area of new homes built by Keepmoat Construction. There’s been criticism from some that such houses in HMRI areas aren’t as ‘nice and neat’ as the terraces they replaced. However, as Carl points out, they do have gardens, off-street parking and modern levels of insulation and damp proofing, things denied to many though not all of the old houses. The tragedy of these homes, one often lost broadsheet debates about aesthetics, is that many people who owned the demolished homes did not get a good enough price for them under compulsory purchase orders to buy one of the new ones. They often had to take out second mortgages in old age to be able to buy somewhere to live. New homes in a community are all very well, but not if the community has to get into debt to buy them when they owned their old homes outright. With the cancellation of HMRI by the present government, we are told it was even touch and go if these new homes would be built or just wasteland left in their place.

As Carl points out, the biggest problem with HMRI was in its title: market renewal, not community or neighborhood renewal. This was of course, pre-crunch, when the market appeared to have the answer to everything; it just needed to be helped on its way. Speaking of markets, in my favourite part of the tour Carl passes two bricks around the bus, one from the new building site and one from the demolished homes. The new brick we are told is worth 30p, the old brick £1. Apparently bricks from the demolished homes are being exported to building sites around the UK, even abroad. Carl tells us: “There’s about 20,000 bricks in an average terrace, whole streets demolished, you do the math.”

As we drive down Granton Road, one of the ‘tinned up’ streets awaiting demolition, Carl plays a recording by Jayne Lawless, a former resident, recalling how just a few years ago, every house in the street was occupied. She speaks of the “controlled decline” under HMRI, which saw people pushed to leave, one by one, until the last residents left in despair. She says: “They said we were deprived, don’t remember being deprived.”

However, Anfield isn’t all dereliction, although newspapers have been full of emotive photos of empty homes. That is one reality, but just round the corner is another. Skerries Road is a traditional terraced street renovated to looking almost new by residents who refused to move. It shows how a different approach can succeed.

Then another local resident, Bob, gets on the bus as we drive past the house where he lived for 50 years. Now it sits empty, with abandoned properties all around. Yet this wasn’t a HMRI street. When former council houses were sold under ‘right to buy’, many ended up owned by landlords who rented to whoever they could get. Bob says this saw an increase of “unruly families” moving in, and with them anti-social behavior, crime and then often abandonment. Bob is a regular on Liverpool’s pub singing scene and gives us a rendition of ‘This Old House’ by Rosemary Clooney, before we move on.

We finish the tour at the former Mitchell’s Bakery, a local business for over 100 years which closed in 2010 and has now become a community hub, the centre of a two-year plan worked up between artist Jeanne van Heeswijk, on a Liverpool Biennial commission, and a myriad of other participants and project partners.

When they began, they had no idea where the idea would lead. The answer is a long-term plan to re-open the bakery as a cooperative, offering local people jobs and training and a Community Land Trust (CLT). If the city council lifts the current clearance order on the building, the CLT hopes to buy it and refurbish the bakery’s former living accommodation. Architect Marianne Heaslip and a group of local young people have drawn up the plans. In the long run the CLT would like to take on more buildings in the area and renovate them for not for profit re-occupation. The bakery has now been refurbished internally and with community members undergoing training, they hope to start trading soon.

Then, a surprise: over tea and cakes, it is revealed that Carl is actually actor Graham Hicks, but that all the stories we have heard are true. Britt Jurgensen, who directed the tour and co-wrote its script with Graham and local novelist Debbie Morgan, adds that many in the community were reluctant to get involved with this project. They had been let down so much by outsiders in the past. But this external spark brought people together who were frustrated by waiting for others to make decisions for them and has acted as a new impetus for residents to become stakeholders in their neighbourhood.

“This is our future,” says Britt, a theatre professional who lives locally and is a member of the CLT and the bakery cooperative. Progress will be slow but from the ground up, not a grand vision imposed from outside. The catalyst may have been the Liverpool Biennial, but local people are now taking things far beyond the ideas of any curators or artists. She says: “I hope we will be able to sustain ourselves as a group and know when to pass responsibilities on to new people. I hope we will be courageous enough to admit when we make mistakes and adapt our plans when it is appropriate. And I hope we will continue to enjoy ourselves whilst we do all that.”

As we munch cake, there is much discussion within our tour group, many of whom have never met before, about the injustice, the problems, and the potential solutions for Anfield and elsewhere. Overall, the feeling is one of energy, of something good coming out of a mess and of things finally, slowly, heading in the right direction.

In the hierarchy of needs in austere times in deprived areas, art may come pretty low, but if art can help regain food and shelter, pride and spirit, then it has a purpose both practical and ephemeral. This was a story that could have been complex, technical, dull and aggressively ideological; instead it has been brilliantly reduced to its actual simplicity: what has been done to a community, and what needs to be done to repair the damage.

The Liverpool Biennial has often struggled to define itself apart from all the other art festivals in the world. Given Liverpool’s weather, it isn’t necessarily going to attract the crowds that head to Venice, Lisbon or Miami. With more projects like this though, it can express itself as something unique in the world.

The Anfield Home Tour is a fine art work. It may also be a fine bit of sociology, entertainment, architecture, history, politics, and cake, but it is an art work. And it is one that should be compulsory consumption for every government minister, every housing association director, every town planner, student of architecture and social affairs correspondent. Its message is simple, and one we should all have learned long ago: The people who know what is best for communities are communities themselves and they are the only people who can truly regenerate an area.

The success of the Eldonian Village, a self-organised community that began in Liverpool in an area of urban blight in the 1980s, just a mile or so from Anfield, is testament to what can be achieved if the support and will is there. Anfield clearly has the will. It remains to be seen though, if those powers that be, whatever coloured rosette they happen to wear, will give them the power and the financial resources to build on this creative start.

This piece appeared on The Guardian in October 2012.

www.2up2down.org.uk

Images Copyright Mark Loudon, Jerry Hardman-Jones and Britt Jurgensen.

A Brief History of Edge Hill

This is a book I wrote to accompany the Metal Culture project, The Edge Hill Archive, which looks at the history and culture of Edge Hill, Liverpool 7, and the work that Metal is doing in the area now. The project and the book’s publication was supported by the Heritage Lottery Fund. The design is by Ultimate Holding Company.

You can read A Brief History of Edge Hill at the Issuu link below or download the PDF. For further information on the wider Edge Hill Archive see also the link below.

Edge Hill: the place where an industry began that changed the world.

http://issuu.com/kenntaylor/docs/a_brief_history_if_edge_hill

A Brief History of Edge Hill PDF

www.edgehillstation.co.uk

On the Waterfront

In July 2011 a new museum will open on Liverpool’s waterfront. Inside it will tell how a tiny, insignificant fishing village rose to become the pre-eminent port in the world, a centre of industrial innovation, global trade and culture, and then on, to a pariah city, struck by deep poverty and malaise. It will also tell, not least by the nature of its striking new building, of a contemporary city in transition.

Nearby there are also new office complexes, retail and leisure playgrounds, an arena and, soon, a new exhibition hall. The city it seems has come full circle, with transformed docklands that were, only twenty years ago, abandoned, silted up, useless, the most prominent symbol of our decline.

Not that far away though, there is a different story. Half an hour’s walk from the new museum in any direction, you hit areas like Vauxhall, Kensington, and Toxteth, changed little by the regeneration of central Liverpool. These are districts, battered by the loss of industry and then by the subsequent break down of their community and way of life, where closed-down shops and pubs, and tinned-up streets of terraced houses, are a common sight.

It is easy to highlight this stark difference, and many writers have. The same comparison could be made in varying degrees in Newcastle, Cardiff, Glasgow, Hull, Portsmouth, Salford and others. Regenerated waterfronts have been the symbolic centre of change for many cities over the last ten years, even if that hasn’t always led to opportunities for those living nearby. Yet, having protested about the gap between waterside regeneration and the continuing decay of our inner-urban communities, so many writers then stop. Satisfied in their telling of a ‘truth’, but rarely offering any real workable alternatives for these economically weak and battered cities beyond mocking their pretensions of having changed. Because what many refuse to face is that there is no easy answer to this, no simple solution to relieve this contrast.

For someone living with regenerated docks a stones throw one direction and boarded-up terraces in the other, I see both sides of the story. There is a truth in the continued deprivation in such places, but there is also a truth that such developments are also a positive change, creating at least some jobs and growth in cities were, more often than not, nothing was built for years and decline often seemed terminal.

The waterfront was the basis of Liverpool becoming a city, for years it became an embarrassment as it fell out of use, but now, it is has been made relevant again. A place where things happen and people want to visit. Historic buildings have been saved and brought back into use, new ones built. These developments will not on their own solve the myriad of problems of a city that suffers from poverty and deprivation, but they are better than continued rot and abandonment, which serves local people not at all, even if some aesthete critics would rather see poetic decay than imperfect growth.

The brutal fact is the old industries and jobs are not coming back, at least not in the same way, and neither is the culture and way of life that went with them. And lest we forget, working on the waterfront in the old days was, for all the community spirit, often hard and unforgiving. Those who look back with nostalgia at that world are guilty of the same sentimentality as the writers of the past who claimed the industrial revolution had ‘corrupted’ the working class and romanticised about a ‘better’ rural world, ignoring the harshness of a life on the land. The industrialisation of Britain once destroyed a way of life just as surely as its de-industrialisation has now done in our time, but it also created a new, different one, in some ways better, in some ways worse.

Our regenerated waterfronts represent the new reality that we are now entering. Cities ultimately must have a form of sustenance or they will not survive. Places like Liverpool have to go for whatever growth and jobs we can get and our biggest asset, undoubtedly, is the waterfront. The only alternatives are to be reliant on subsidy, which, as we are now seeing, is very easy to be taken away, or surrendering to terminal decline as our young people leave for better chances elsewhere.

The key question is what next? The decline of the industrial waterfront set the rot in the communities that surrounded it. Now the post-industrial waterfront is re-growing, what, if anything, can be done for its neighborhoods to benefit? Despite the many problems such areas face, there are some examples of growth and, more importantly, of ground-up, community-led regeneration. By Liverpool’s old northern docks, on the site of an old sugar refinery is the Eldonian Village. An integrated sustainable development owned and organised by the community, one that has won the UK’s first United Nations World Habitat Award. Meanwhile, in Toxteth, near the old southern docks, an abandoned Victorian youth centre, ‘The Florrie’, has been taken over by local people and is being restored into a new multi-function community facility to open next year.

With such self-organisation and self-determination under way, can these communities take a stake in these new economies? Will they, like the canny leaders of the Shetland Islands when the oil companies came to town in the 1970s, make sure that local people benefit from their geography, or will they instead be pushed out by economic growth, like in London, where the wealth of Canary Wharf built on the old east end docks does little help to the poor in Tower Hamlets. If such waterfront developments are to benefit the many not the few, communities will have to take matters into their own hands to make them, the profiteers in power are unlikely to acquiesce of their own accord.

On the Mersey, the waterfront continues to re-grow. The huge Liverpool Waters and Wirral Waters schemes, by the company behind Salford’s MediaCity, promise vast new centres for living and working on the sites of old docks. There is new industrial development too, with plans for large new port terminals and distribution centres to serve the emerging economies and several renewable energy facilities, including possibly the UK’s first tidal energy barrage. I am a sceptic to all of this, but then I disbelieved the current crop of developments and yet here they are. Such attempts at growth by our old industrial cities may still ultimately be futile in the face of a world which is shifting rapidly, but for maybe the first time in thirty or forty years, Liverpool seems like it may just have a future, and its fate, and that of other cities like it, once again hangs on the waterfront.

This piece appeared in Article magazine’s ‘Ports’ issue in June 2011.