Project 3C. Culture Competitiveness Creativity PRACTICAL GUIDE FOR THE DEVELOPMENT OF THE CULTURAL SECTOR AND THE PROMOTION OF CREATIVITY

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1 The project is co-financed by the European Commission under the Interreg III/C South initiative. PRACTICAL GUIDE FOR THE DEVELOPMENT OF THE CULTURAL SECTOR AND THE PROMOTION OF CREATIVITY Project 3C Culture Competitiveness Creativity

2 Project Partners Lead Partner: Cordoba. Municipal Institute for Economic Development and Employment. President: Valentín Priego Ruiz. - Project Director: Juan Caballero. General Manager of IMGEMA - Project Coordination and Financial management: Soledad Cañizares. Head of the Department of European Projects and Institutional Cooperation. - Technical Assistance: Interarts, Barcelona.. Partners: Comune di Pisa - Project Director: Antonella Riacci -Cultural Department Municipality of Pisa - Project Coordination and Financial management: Antonella Lilli European Projects Department- Municipality of Pisa - Technical Assistance. : Coidra Debora Giorgi Eurobic Toscana Sud S.p.A. - Project Director: Alessio Bucciarelli Head of Economic Development Department Eurobic Toscana Sud - Project Coordination and Financial management: Valentina De Pamphilis European Projects Department Eurobic Toscana Sud - Technical Assistance: : Elicona Servizi Culturali. Maurizio Serafin Università Ta Malta - Project Director: Dr Christian Scerri - Project Coordination and Financial management: Ms Stephanie Azzopardi - Academic Coordinator: Dr Simon Mercieca Mairie de Kavala - Project Director: Christodoulos Michalakis - Project Coordination and Financial management: Io Chatziwaryti - Technical Assistance: Organotechnical. Georges Stampoulis. A special thank to the cultural actors of each city who participated to the entire process of strategic planning for the network.

3 Project 3C Culture Competitiveness Creativity Index INTRODUCTION 5 1 DESCRIPTION OF THE 3C PROJECT What is the 3C project Network level working methods & definition of tasks 7 2 METHODOLOGY FOR THE PHASE I: DIAGNOSIS AND SWOT ANALYSIS The analysis tools to be used The appraisal form (Quantitative analysis) The diagnosis form (Qualitative analysis) The methodology of Phase I. The diagonisis analysis. The SWOT Matrix The analytical index for writing a local diagnosis 16 3 METHODOLOGY FOR THE PHASE II: DETERMINATION OF STRATEGIES AND MEASURES FOR THE CULTURAL SECTOR Technical steps / procedure Technical meeting Invitation letter Informative meeting Collection First round table Integration Second round table Participation of local actors Drafting of proposals Participation in the round tables Methodological tools Novak Concept Maps Matrix of financing level expected benefits Other techniques for supporting decision processes SWOT analysis as a tool for developing strategies Scenarios methodology and the European Awareness Scenario Workshop methodology 23 3

4 PRACTICAL GUIDE FOR THE DEVELOPMENT OF THE CULTURAL SECTOR AND THE PROMOTION OF CREATIVITY 4 GUIDELINES FOR THE EVALUATION PROCESS OF A PILOT ACTION 23 5 THE COMPARISON AMONG THE FIVE CITIES The network diagnosis Introduction Conclusions and strategic lines The transregional strategy Introduction The use of the network diagnosis The network strategies The transregional strategic lines 31 6 SOME INTERESTING BEST PRACTICE CASES IN EUROPE Promotion of the cultural industry and cultural production The Theatro Kismet Opera of Bari Pense Industria project Hultsfred - The Rock city Heritage as a source of contemporary creativity Ename 974 project Ironbridge Gorge The Royaumont Foundation (Goüin-Lang) The International Theatre Festival Divadelná Nitra Cities as models for planning within the cultural sector for the promotion of creativity Avignon Bologna 74 BIBLIOGRAPHY 81 List of the annexes included in the cd 1. The Appraisal Form (English) 2. The Diagnosis Form (English) 3. Diagnosis document. Analytical index (English) 4. The Guidelines for the Evaluation Process of a Pilot Action (English) 5. The Results of the Network Appraisal (English) 6. Folder of local documents about Cordoba (English and Spanish) 7. Folder of local documents about Pisa (English and Italian) 8. Folder of local documents about Siena (English and Italian) 9. Folder of local documents about Malta (English) 10. Folder of local documents about Kavala (English) 4

5 Project 3C Culture Competitiveness Creativity Introduction In the last few years local cultural heritage and cultural industries have assumed an increasing importance, in particular as a strategic element on which to positively build sustainable local development (from an economic but also identity point of view). On the other hand, it is necessary for local governments to have complex and synthetic coordinates which can furnish extensive and up-to-date information on territorial transformations and on their performances and which allow useful reflections on the predisposition of appropriate public policies that support territorial development and planning. The cultural sector is characterized more and more by the close and varied links connecting cultural life (cultural and socio-cultural public institutions: theatres, museums, art centres, urban or rural artistic venues, schools of art, academies, etc.) and the cultural economy (music, art, literature and books, cinema, television and video production, photography, design, visual arts and shows, architecture, protection of historic buildings and tourism). Moreover, the term creative industries has become a buzzword in economic policy discussions. Aside from biotechnology and information technology, cultural industries are about to become the third most promising sector in economic policy. However, the requirements and expectations are much more difficult to define for this sector as compared with those of biotechnology and information technology. Creative industries are a conglomeration of very heterogeneous economic branches where creativity is the essential input for creating products and services (Florida, 2002). The corporations in this field follow various directions: in some areas, market-economic objectives are predominant, whereas others operate on the cusp of art and economy, with varying objectives and value systems for their respective activities. Furthermore, new technologies - particularly those that were constitutive for the New Economy - have noticeably propagated the growth and positive perception of this sector. On the one hand, the relevance of creativity in connection with market logic and artistic objectives creates an interesting starting point for new creative products and services; on the other, this constellation also generates stimuli for public discourse and the desirability of the corporate location. However, the combination of economy and culture may also result in apprehension: in ongoing talks, the questions relating to the mode in which such systems shall interact, and what effects can be expected as a result of this interaction, have been discussed for a long time. Investigating the innovation and employment potential within the cultural production of a territory is, therefore, necessary in order to understand how culture can become a powerful engine for local development. In order to arrive at a complete vision of the cultural sector in a city, together with cultural production, cultural infrastructure has to be considered both as historical and artistic attractions (monuments, churches, cultural heritage) and as available spaces for the staging of events. The cultural sector is, moreover, connected with tourism flows, the economic development of a territory and the qualitative management of local cultural services. Some projects have been undertaken regarding the relationship between tourism, culture and economy, and analyses were carried out in the past on the impact on the local economy of being a UNESCO World Heritage site. Other projects concerned particular events, such as that of becoming European Capital of Culture or the holding of big events such as, for example, the International Forum of Cultures in Barcelona in These projects showed how culture and cultural activities can be considered as a constant source of employment and enrichment in a city, depending on the effectiveness of their use and the transformation of local cultural resources into products (Landry, 2000). This handbook brings together the experience built up during the three-years of Interreg IIIC Project 3C Culture, Competitiveness and Creativity - Strategies for the Promotion of Competitiveness and Creativity in the Cultural Industries, submitted, managed and coordinated by IMDEEC, Cordoba s Municipal Institute for the Development of Employment and Economy and funded by ERDF - European Regional Development Fund. The project included a network of five European cities: Cordoba (Spain), Kavala (Greece), La Valletta (Malta), Pisa (Italy) and Siena (Italy). The handbook features and explains the different methodologies applied during the various steps which the cities took following the classical phases in the strategic planning methodology: i.e. strategic diagnosis, exogenous analysis, endogenous analysis, synthesis of endogenous/ exogenous analyses, SWOT analysis, cultural evaluation in order to select strategic policies, plan and implementation of actions in order to apply the programmed strategic lines, evaluation of the impact of the applied actions. 5

6 PRACTICAL GUIDE FOR THE DEVELOPMENT OF THE CULTURAL SECTOR AND THE PROMOTION OF CREATIVITY Chapter 1 briefly describes the project and its working methodology, mainly consisting of a process of network strategic planning applied to culture and enriched by a benchmarking process. Chapter 2, with its annexes, covers the methodology proposed and applied during the Phase I Diagnosis Analysis (and SWOT Analysis) for the characterization of the cities. It explains the forms used (appraisal and diagnosis forms), how to organize focus groups and face-to-face interviews with local stakeholders, the main interview lines followed in both the methodologies (the Focus Group Interview Guidelines ), the ways to contact local actors, the use of the SWOT matrix for developing possible local strategic lines, the methodology suggested for the collection of the data (quantitative and qualitative data) and finally the methodology suggested for analysing the data. The chapter ends with the suggested structure proposed for the local diagnosis, i.e. the Analytical Index for Writing a Local Diagnosis. Chapter 3 explains the methodology of PHASE II, i.e. Determination of Strategies and Measures for developing a city plan based on the cultural sector, including suggestions and the process for choosing the set of possible actions within the decided strategic lines. Local actors are involved in this phase through their proposals of strategic lines and actions, discussed and developed within a coherent strategic plan, analysed and listed according to priorities which are connected to the local development plan of the cities. Chapter 4 shows the main conclusions included in the documents produced within the 3C: Culture Competitiveness Creativity project comparing local situations and suggesting common strategies, i.e. the Network Diagnosis and the Transregional Strategy. Chapter 5 features some case studies highlighting cultural industries from different sectors (theatre, audiovisuals, music, literature, heritage presentation), as well as paying attention to new media and technologies, good examples of synergies between private and public, and showing the possibility for intervention from different points of view (from the institutions, from a commercial perspective, and from the policy aspect). Case studies are presented according to their clustering into three criteria: 1) promotion of the cultural industry and cultural production, 2) heritage as a source of contemporary creativity, and 3) cities as models for planning within the cultural sector for the promotion of creativity. The guide is completed by a CD-ROM featuring the annexes also included in the paper version of the present handbook together with the documents produced within the 3C: Culture Competitiveness Creativity project by each city (local diagnoses, local plans to promote the cultural sector, plans for implementing pilot actions, evaluation reports of the pilot actions and all the material promotional and technical each city produced during the project). 6

7 Project 3C Culture Competitiveness Creativity 1 Description of the 3C project 1.1 What is the 3C project? The Project 3C Culture, Competitiveness and Creativity - Strategies for the Promotion of Competitiveness and Creativity in the Cultural Industries, whose project leader is the Municipality of Cordoba, is a transnational project developed from the beginning of 2005 until the end of 2007, funded by the European Union within the framework of the CIP INTERREG IIIC/SOUTH Programme. With INTERREG IIIC, interregional co-operation between regional and other public authorities across the entire EU territory and neighbouring countries is promoted. It allows regions without shared borders to work together in common projects and develop networks of co-operation. The INTERREG IIIC Programme is funded by the European Regional Development Fund (ERDF), as part of the Structural Funds, and co-funded by national project partners. The aim of the 3C project was to demonstrate that preserving cultural territorial identity is a key factor for its competitiveness and that culture can be a powerful engine for economic development. The project started from the consideration that a city s development, by number of residents and tourists, does not usually come with the parallel development of the cultural sector. In order to culturally dynamize a city, it is therefore necessary to carefully study its characteristics and strategically plan its future development in this direction. The locations involved in the project, Cordoba, Siena, Pisa, Malta, and Kavala, are each marked by their important cultural history and heritage. The historic centres of Cordoba, Siena and La Valletta (Malta), as well as the Piazza del Duomo in Pisa, are registered UNESCO World Heritage Sites, and Kavala is near the ancient Greek site of Thasus and other archaeological sites of great importance. The aim of the project 3C Culture, Competitiveness and Creativity - Strategies for the Promotion of Competitiveness and Creativity in the Cultural Industries was therefore to use this historical and cultural heritage, together with other institutional, social and economic factors in the best way to develop the infrastructure for the cultural industries in each location. As stated in the project s proposal, submitted by Cordoba s Municipal Institute for the Development of Employment and Economy (IMDEEC) for the European Union, the preservation and projection of a cultural identity of a territory is a key factor for its ability to compete, (and) cultural factors, if they are well utilized/focused, can be an important motor for economic activity and employment and, as such, the cultural policy of the Union deserves to have a greater position within the regional policy if it wishes to achieve a Europe which is more cohesive and sustainable in terms of competitiveness. The specific objectives of the project were: A) Development of a Practice Guide as an instrument to support the emergence of the economic activity and creativity related to culture as well as an instrument in orientating the future articulation of measures to support culture by acquiring structural funds. B) Design of a programme able to support the cultural industry and the cultural production in the network. C) Implementation of a pilot project that adds value to the historical heritage by developing contemporary creativity. D) Establishment of a sustainable co-operation platform that will encourage feedback on the strategies, the structures and the development tools of the cultural industry. E) Enrichment of the variety of new local actions by contributing new ideas or alternative approaches resulting from the analysis of successful case studies. F) Diffusion of the Guide in the European forums for its wider implementation. G) Validation of an orientation instrument for the future articulation of the measures that support culture and through structural funds, such as the regional development strategy. 1.2 Network level working methods & definition of tasks The 3C project established an innovative strategy of interregional co-operation between cities aimed at discovering new ways of developing the economic potential of the cultural industry. At the same time, it tried out alternative approaches for the development of historical heritage starting from the encouragement of contemporary creativity. The project was developed according to a structure consisting of five main components: Component 1: MANAGEMENT AND COORDINATION Component 1 included the activities related to: 1. Preparation of the candidate project 2. Development of control and management tools for the project 7

8 PRACTICAL GUIDE FOR THE DEVELOPMENT OF THE CULTURAL SECTOR AND THE PROMOTION OF CREATIVITY Component 2: NETWORK STRATEGIC PLANNING APPLIED TO THE CULTURAL SECTOR This component consists of the strategic part of the project: its main characteristics are included in this handbook. The network jointly followed the same methodology: namely, strategic planning in network, under the coordination of the Lead Partner. This common method was structured in four phases (diagnosis, determination of strategies and measurements, execution and evaluation-diffusion) implemented at the local level, according to a process of permanent interaction. The process was highly participative on the local level within the cities network. At the beginning of each phase, the implementation norms of the following phase were determined and the results shared. So the process was enriched by the specific nuances, approaches and experiments that each city introduced. Workshops were devoted to the exchange of experience and the coordination of activities. Benchmarking techniques were implemented in order to analyse the best practices carried out by external operators with the network. This preliminary stage to the design of the pilot actions enabled the partners to fully capitalize on the experiences acquired. In each city, the agents and the institutions involved in the process of strategic planning formed a local co-operation network. The development of the cultural strategic plans was then used as a basis to develop a strategy of common action that determined the directive lines for future co-operation. Component 2 included the activities related to: PHASE I: DIAGNOSIS AND SWOT ANALYSIS. A) Development of a questionnaire for the characterization of the territories and organizations B) Development of a common methodology document for the initial diagnosis of the situation in cultural industry in each partner city C) Completion of the questionnaires in each city D) Preparation of local diagnosis reports E) Empowerment of the local partnership F) Preparation of the SWOT diagnosis of the network G) Analysis of good practices PHASE II: DETERMINATION OF STRATEGIES AND MEASURES A) Definition of the strategic lines in each city B) Local workshops for planning local actions C) Development of local plans to encourage the cultural industry E) Pilot action planning F) Presentation of the pilot action scheme locally F) Development of a transnational strategy preliminary draft PHASE III: IMPLEMENTATION OF PILOT ACTIONS A) Coordination of the implementation of pilot actions B) Development of administrative indicators measuring the impact of the actions PHASE IV. EVALUATION - PRESENTATION OF RESULTS A) Evaluation of the impact caused by the implementation of the pilot action in each city B) Preparation of the final practical Guide document C) Preparation of the final workshop. Methodological focus Network Strategic Planning and Benchmarking Diagnosis Strategy Formulation Implementation PPs Local partnership Diagnoses Local Plans Pilot Projects Analysis of Good practices Transnational partnership Transnational diagnosis Transnational strategy Transnational PP 8

9 Project 3C Culture Competitiveness Creativity Component 3: PROJECT MEETINGS OR WORKSHOPS The project meetings lasted two days at each time and that way partners got the chance to make the most of their time in the host city. The workshops provided an easy transition between the programme s implementation phases. The results of the preceding phase were presented as was the planning for the provisional activity. At the same time, the differences between the work completed by the partners were analysed, supported by the technical assistance of the network; this also allowed reflection and common work. The seminars made it possible to visualize the concrete experiences acquired by the partners hosting the various workshops, which also gave a distinctive didactic character to them. Seminars also enabled the partners to make concrete contributions to the development of promotion and diffusion tools, detailed in component 5. The first of them was held in Cordoba, followed by those of Kavala, Siena, Malta, Pisa and Cordoba again. Three-person delegations were invited to each workshop. They also aimed to visualize the progress of the various tasks implemented by each partner. Component 4: PILOT ACTIONS The partners of the project concretized the actions to be set up. However, in order to delimit the range of each pilot action, the minimum number of artists participating in each pilot action was fixed at 3. This action had a certain degree of flexibility, in order to be able to integrate the experience drawn from the best practices analysis; facilitating the exchange of artists between partners or the production of a single activity for all the pilot actions. In any case, there were aspects left in the appreciation of the participating partners. Component 5: PROMOTION-COMMUNICATION-DIFFUSION This component was addressed to capitalize the project results and to transfer and disseminate them. A) Development of the common format for the communication actions. The partners jointly chose one of the proposals presented. B) Design, graphics, development and maintenance of the website of the project. C) Publication of the five final local plans to distribute to institutions at a local and national level. D) Presentation of the plans at the local level. E) Written publication on paper and release of the final version of the practical Guide. F) Final international workshop promotional activity in the media. G) Final International Seminar. Tasks were subdivided in the following way: Partner no. 1 (Cordoba), as project lead partner, was responsible for the: A) Coordination and financial management of the project as well as the financial and progress reports development. B) Transnational partnership coordination, coordination meetings and project control. C) Methodological coordination, followed by strategic planning at the network level. D) Document compilation and the final report development during the project s implementation. E) Empowerment of the network. F) Organization of the programme s kick off meeting and final international meeting. All partners, as part of the network, were each responsible for the same kind of local activities, in particular: A) Coordination and execution of the programme s strategic planning applied in cultural industries at the local level. B) Empowerment of their local partnership. C) Implementation of a pilot action. D) Seminar and workshops organization and active support. E) Development of progress reports and transmission of the official administrative and technical documents to the Lead Partner. F) Organization of a workshop in the city. G) Elaboration of promotion and diffusion activities at local level and participation in the final international seminar. Finally, each partner was responsible for one of the transversal activities of the project, in particular: Partner no. 2 (Pisa): Activities and promotion instruments coordination and project results diffusion The final handbook. Partner no. 3 (Siena): Execution of the final external evaluation. Partner no. 4 (Malta): Pilot projects promotion. Partner no. 5 (Kavala): Activities and promotion instruments coordination and project results diffusion The website. Following these objectives, the partners of the project, conscious of the potential that culture has in the development of their regions, joined their efforts in order to stimulate the planning of development policies that are able to evoke a development in economic activity related to the cultural industry. At the same time, they encouraged creativity and the alternative uses of cultural heritage. 9

10 PRACTICAL GUIDE FOR THE DEVELOPMENT OF THE CULTURAL SECTOR AND THE PROMOTION OF CREATIVITY 2 Methodology for phase I: diagnosis and SWOT analysis As said before, the first phase in a strategic planning approach should be the diagnosis of the territory in which we want to operate. The methodology elaborated for the 3C project regards the city s territory but it is obviously also applicable to other territorial contexts. The main objective of the characterization of the city must be the description of the territories on which the city is settled, the elements constituting its cultural supply, the local cultural industries, the actual cultural demand expressed both by tourists and the local population, and the policies undertaken by the public administration to develop the sector. The purpose is therefore to characterize the city according to its peculiar characteristics and therefore to plan the best strategic development lines. In order to decide the most meaningful statistic variables and the macro-areas where it was more interesting to develop the appraisal, some of the most important studies recently undertaken can be analyzed, such as Urban Audit. Urban Audit is an initiative of the General Directorate for the Regional Policies of the European Commission in collaboration with EUROSTAT and the National Statistical Institutes of the 27 Member States. Moreover, the areas can be selected according to the Factus database, a database on urban and regional cultural policies in the European Union, compiled by Fundació Interarts, Barcelona (Spain). The characterization must give a general picture of the city, underlying some social-economic parameters. Such a context will be useful to give an introductory picture of the city from an economic point of view and to evaluate the residents habits, their educational level (an aspect that, as we know, directly determines the consumption of culture), their participation in the social and cultural life of the city. In the general economic picture, the tourism sector has to be described in detail. The tourist supply s typology, the tourist supply s structure, and the demand s characteristics: these aspects are in fact fundamental not only to understand the cultural tourism dynamics but also to appraise the tourist as a potential user of the local cultural heritage and of the organized cultural activities. In fact, it has broadly been shown that the cultural demand does not only originate from cultural tourists in a narrow sense but also to a large extent is formed by tourists that, during their vacation, love to visit the monuments or attend a concert. With reference to the territorial cultural capital, some aspects have to be identified in order to select the right information for characterizing the city. These are, in particular: - historical, artistic, architectural, archaeological, anthropological heritage; - urban landscapes, characteristic places and leisure sites (including natural parks and gardens) produced by human work; - social local traditions, traditional events constituting cultural and collective activities (fairs, popular feasts, festivals); - the presence of characteristic forms of handicraft and distinctive traditions; - the knowledge of the city s cultural representations, of those produced by mass-media and of those experienced by citizens; - the vivacity of the city economy and its attractiveness, linked to leisure for new opportunities in cultural consumption; - the range and the different levels of professionalism both in the arts (visual arts, performance) and in the contemporary cultural industry (cinema, video, photography, television, radio, music, book industry, fashion, design); - the necessary infrastructures for the production, distribution and marketing of the above mentioned resources. AA last, but important, aspect has to be included in the characterization approach: the creative capacity of the city. Following the scientific bibliography, and particularly the work done by Richard Florida (2002), some variables can be included in the system referring to the level of high technology, innovation, talent and tolerance in the cities. The quantitative information included in the first part of the analysis can be collected through a questionnaire filled in by the Municipality (the Appraisal Form ) and through specific requests directly made. Additional information, especially concerning local communication and promotion strategies and cultural policies, can be collected through a qualitative tool, called the Diagnosis Form. The combined answers to the questions in the appraisal form and the diagnosis form together with the additional documentation will: define and identify existing activities in the local economy and labour market and, in particular, the area of cultural industries; evaluate the current level of influence that the cultural industries exercise at a local level; identify levels of administration in order to analyze possibilities for intervention and interaction; identify exploitable resources for the cultural sector in general and for the cultural industries in particular; make connections between different socio-geographic and institutional factors in order to define the potential capacity of the city to attract employment in the cultural industries, as well as a public for the consumption of the goods and services produced by the cultural industries; review existing strategies of the city intended for the promotion of industry in general, cultural tourism, and in particular the development of cultural industries in order to evaluate their success until now, and to make recommendations on how they can be adapted in accordance with existing factors and potential synergies. 2.1 The analysis tools to be used As previously stated, in order to collect the necessary information from each city two main tools are necessary: an appraisal form and a 10

11 Project 3C Culture Competitiveness Creativity diagnosis form. The objective is to measure physical elements, human capacity, policy instruments, financial options, and marketing and distribution actions that serve as the basis for the strategies for the promotion of the cultural sector and of the competitiveness and creativity of the cultural industries. The approach is close to territorial marketing, seeing the city and its resources as the supply while tourists and above all the local population are considered as the actual and potential demand of the cultural product The appraisal form (quantitative analysis) The APPRAISAL FORM (see Annex 1) consists of three sections corresponding to the above mentioned approach, i.e. supply, demand and creative capacity. In the demand section the questions regard: Population: Total resident population, men and women; Non-resident inhabitant population, men and women; Activity rates, men and women; Mean average age, residents and non-residents; Employment rates, men and women; Unemployment rates, men and women, also according to level of education; Unemployment rates for young people (between 18 and 25); Median disposable annual household income; Average household size; Employment distribution in the main sectors of the economy (agriculture, industry and services); Percentage of registered voters participating in the last city elections; Participation in associations (neighbourhood, business/professional, volunteer for social causes, cultural, local popular traditions, sports, youth). Tourists: Tourist arrivals in hotel accommodation per year, national and foreign; Tourist arrivals in alternative accommodation per year, national and foreign; Tourist overnight stays in hotel accommodation per year, national and foreign; Tourist overnight stays in alternative accommodation per year, national and foreign; Purpose of tourist stays (business, culture, other leisure, conferences-congresses-fairs, other); Number of visitors in the principal city s leisure attractions. Heritage: Total number of visitors to museums; Total number of visitors to archaeological sites and historical buildings; list of the principal museums and monuments (with name, number of visitors, entrance fee, financing source); Cultural Industries: Combined revenue figures; Annual theatre attendance per resident; Annual concert attendance per resident; Average admission per screen in local cinemas; Average yearly revenue per screen; Total book and other media loans per resident; Number of books bought per capita; Number of newspapers purchased per capita. In the supply section questions regard: Territory, Property Rates, Transport, Climate, and Crime Rate: Territorial extension of the city; Territorial dimensions of the historical centre; GDP per person; Average price per m 2 for residential space within municipal limits; Average price per m 2 for commercial space within municipal limits; Local transportation (total number of service routes and number of kilometres covered by buses/night buses/trams etc.); Average commuting time to work; Local airports (distance in km from city, whether international or only national, available connections, total annual number passengers); High speed rail connections; Major highways connecting the city to other important cities or regions; Average number of sunny days per year; Average days of rain per year; Average temperature of warmest months; Average temperature of coldest months; Total number of recorded crimes per 1000 inhabitants (national, municipality, historic centre); Number of murders and violent deaths per 1000 inhabitants (national, municipality, historic centre). Tourism: Available accommodation (subdivided per hotel categories, hostels/ guest houses/ residences, other accommodation); Average occupancy rate of accommodation (for hotels and alternative accommodation); Available facilities such as convention centres, fairgrounds and congresses (including their visitor capacity as the maximum number of people which can enter the space); Restaurants, bars, discotheques, clubs; sports facilities; Number of public parks; Total hectares of public parks; Pedestrian areas; Bicycle paths; Length of the coastline in the municipality. Heritage: Description of UNESCO s World Heritage Sites in the city or area; Heritage infrastructure of the location: Museums, archaeological sites, Historical buildings, other historical sites, registered monuments, libraries, media libraries, archives, other; Internet web sites, online ticket sales, online consultation for some of the above categories; Intangible heritage subdivided between local traditions, folkloric expressions, and popular festivals (local, tourist or mixed participation, time of year of celebration/practice, habitual location of celebration/practice). Industrial Infrastructure: GDP produced in the main economic sectors; Employment figures for some occupational areas (hotels and restaurants, transport and communication, financial and business services, computing and mathematics, architecture and engineering, life physical and social sciences, education training and library services, sports and media, private legal services, healthcare practitioners and related technical occupations, high-end sales and sales management, Public Administration). Cultural Industries: Local creators (actors, dancers/choreographers, artists, artistic printmakers, musicians, composers, journalists, authors, translators, designers, artisans, architects, artistic technicians); Active companies (theatre companies, dance companies, circuses, music companies, recording studios, local/regional newspapers, local/regional radio, local/regional television, film production companies, publishers, ateliers, architectural bureaus, other technical production companies); Theatres and other additional performing arts venues; Clubs or other venues which offer live music presentations; Cinemas; Museums and art galleries; Alternative venues for visual arts/multimedia/audiovisual viewing; Temporary exhibitions; Libraries or public collections; Bookstores; Design or speciality boutiques or stores; Festivals, fairs and other popular events in the city; Craft products (non-enogastronomic) in economic and occupational terms; Typical/traditional enogastronomic products; Particular events (festival or fairs) related to a particular product or cultural industry. Questions about cultural industries were formulated according to the widely known process of creation, production, presentation and distribution. 11

12 PRACTICAL GUIDE FOR THE DEVELOPMENT OF THE CULTURAL SECTOR AND THE PROMOTION OF CREATIVITY Finally, the quantitative questionnaire includes a section regarding the creative capacity indexes. The indexes for High-tech, Innovation, Talent and Diversity are based on the classification system used by Richard Florida to evaluate the level of creative potential of a certain location. The questionnaire just adapts his definition of high-tech index in order to take into account the need for access to internet and broadband networks. In this section questions regard: Technology - High-Tech: Households with a PC, internet access, access to broadband; Locally-based companies with a PC, internet access, access to broadband; Public Internet access points; Companies producing ICT products and services and the services and contents they provide; Hits per month on the city internet website; Administrative forms that can be electronically submitted. Technology - Innovation: Researchers working either for universities or research institutes; New businesses registered; Patents registered per year. Talent: Educational level of the population; General higher-level educational options; Departments or special programmes related to cultural creation, production, management or other related topics; Professional schools dedicated to visual and performing arts, cinema, craft production, publishing, architecture, design, and all other cultural occupations; Informal, non-professional training offered in cultural creation and production. Tolerance - Diversity: Resident population by origin; Principal nationalities of the foreign population; Foreign languages spoken in the city; Religious affiliation; Institutions and associations related to foreign culture; Publications (newspapers, magazines) published for distinct foreign communities or visitors available for purchase or distribution; Restaurants offering cuisine from different nationalities; Gay and lesbian associations. Most of the questions regard the city, the Large Urban Zone (after having been changed in the Province of reference due to a lack of available data) and the historic centre. In most cases it is asked to provide information for the last five years. The tool called Appraisal Form is shown in Annex 1 considering Year 5 as the most recent year of the available data and Year 1 as the year corresponding to five years before the most recent one The diagnosis form (qualitative analysis) The DIAGNOSIS FORM, (included in Annex 2) as also specified in the methodology for analysing the data of the following paragraph, can be considered as the basic framework, a working tool for the qualitative methodology, which has to be applied in order to make a complete characterization of each city. In this qualitative questionnaire, following the same approach of the appraisal form (then subdividing the questions between the sections: General, Tourism, Heritage, Industrial Infrastructures and Cultural Industries), a set of open-answered questions are given. They particularly regard policies and actions previously undertaken (or planned in the future) by the local municipal government: promotion and communication activities addressed to citizens, tourists and cultural industries to further promote the city in local, national and international markets; local strategic planning and its main priorities; development plan and projects in the cultural sector; local, national and international networking; main tourist policies; policies for the preservation and exploitation of local cultural heritage; policies for the preservation of local cultural traditions; particular programmes designed to improve access to cultural activities and encourage cultural consumption; cultural policy priorities; cultural projects currently planned; cultural cooperation programmes/projects; projects of investment in cultural infrastructure; main trends in public support for cultural industries on a local level; policies for collaboration or support for cultural projects coming from private initiatives; non-public sources available for funding of the cultural industries; potential barriers that exist for cultural industries to access funding from public or private sources. The form has to be filled by local cultural actors who are responsible for the sector on behalf of the public administration or included in the local strategic development of the sector itself. The lines constituting the form have to be the starting points for a deeper discussion to be undertaken (through focus groups and interviews) in order to give the most complete picture of the territory and its characteristics with regards to cultural industries and heritage. As concerns the information collected through the diagnosis form, it can be analysed by a strictly qualitative statistical approach. The questions can be submitted to local actors through the organization of focus groups and direct interviews with key actors, including the information requested in the diagnosis form, widening and enriching them with additional concepts, problems and experiences. Moderators can follow the same list of questions (main questions are indicated in Box 1) and compile a narrative description, drawn by transcribing the discussion and the interviews, enriching with observations and consideration by the diagnosis form. Box 1 - QUESTIONS TO BE ASKED BY MODERATORS 1) The local economy is traditionally based on the industrial and social structure of the territory, but in recent years culture (taken to mean heritage and creative industries) is becoming increasingly important as a development tool from an economic and social point of view. What do you think is the situation in your town? 12

13 Project 3C Culture Competitiveness Creativity 2) Citizens are the first actors in the local economy and economic development. Do they actively participate in local political and cultural life? How do you think your town communicates with its citizens? How do you think this interaction can be improved? 3) Tourists play an important role as consumers of cultural activities and in bringing wealth into the territory. What are the main services and tourist products offered and what aspects do you think could be improved? How is tourist information provided in your city? What do you think about the main tourist policies and projects currently in progress? 4) A Strategic Development Plan is considered a fundamental tool for cities in promoting local development. Regarding cultural aspects, what do you think a development plan should contain? Please describe the main priorities of your city s cultural strategic development policy and the most important development projects that the city should undertake. 5) What do you think the city s policy with regards to relationships with other local administrations (networking) should be? In your opinion, what are the international networks in which the local administration should participate: culture, tourism, industrial activities, economy, or general urban development? 6) What is the current state of cultural industries? What is and what should be the main cultural policy priorities of the city? What are and what should be the main issues of public support for cultural industries? What means of information/communication are employed in order to identify them? 7) Heritage and local cultural traditions are an important part of local identity. How do you evaluate local heritage? Do you think it is sufficiently exploited? What can be done to maximize the contribution and preservation of local heritage, as communicated to local people and tourists? 8) With regard to promotion and communication and local cultural industries, how does local government disseminate information? What do you know about new policies, funding and training opportunities? 9) What is and what should be done by the public and private sectors in the cultural sector? Which cultural projects should be implemented in the future? How would you manage investments in cultural infrastructure? Focus group research involves organized discussions with a selected group of individuals to obtain information about their views and experiences in the cultural sector of each city. The objective of the discussion is to obtain several perspectives about the topic. It needs the presence of technical assistance and the active cooperation of the key actors and stakeholders of the territory (the average composition of a focus group is 6-8 participants for each session). Two focus groups can be organized, including local actors, and people who agree to participate can be subdivided into two groups according to their professional background. The groups can focus on the culture, heritage, tourism and cultural enterprises for the city s territory. Both the meetings have to start by explaining the general objectives of the discussion. The group facilitator provides clear explanations of the purpose of the group, helping people feel at ease, and facilitating interaction between group members. The discussion is then guided by promoting debate through the open questions mentioned in Box 1. Each focus group session, according to the methodology, lasts about two hours. Information collected through the focus groups can be enhanced by face-to-face interviews. The working methodology, in this case, is firstly to identify local experts, i.e. people working in the city, who know the topic very well (local heritage, local cultural development, cultural management, tourism, local cultural industries, etc.), from the private and public sectors. The selected experts can then be contacted to fix an appointment for an interview (of about 1 hour). The objectives are explained during the interview. Then each expert freely answers the same open questions used for the focus groups. 2.2 The methodology of phase I. The diagnosis analysis. The SWOT matrix The strategic planning methodology, applied as said before in the Diagnosis Phase, foresees as main actions: 1. strategic diagnosis: context analysis of the situation to identify problems and competitive asymmetries, also in comparison to competitors; 2. exogenous analysis: analysis of the environment to gather threats and opportunities and to define potential strategies; 3. endogenous analysis: analysis of points of strength and weakness in order to evaluate the feasibility of strategic alternatives and to better define them; 4. synthesis of endogenous/exogenous analyses: the SWOT analysis; In each city an accurate collection of data (both quantitative and qualitative ones) has to be undertaken, with the purpose to delineate the principal characteristics of the territory with particular reference to the cultural sector. Each territory is in fact a complex system of variables to be taken into consideration with the purpose of providing a picture as reliable as possible in order to implement the following phases of cultural planning. 13

14 PRACTICAL GUIDE FOR THE DEVELOPMENT OF THE CULTURAL SECTOR AND THE PROMOTION OF CREATIVITY a) First step The first step, the context analysis, requires a relatively large amount of information which is necessary in order to undertake the city s diagnosis. The quantitative information (included in the appraisal form described before) can be collected through official statistics and a process of meta-analysis, combining the results of several studies in the cultural sector, which have been previously undertaken in each territory. A first analytical approach for these data is obviously using descriptive statistic tools - and therefore calculating averages, percentages and simple indicators. This gives a first general picture of the city. Moreover, technically speaking, the numerousness of the aspects to be examined make the analysis closer to an observational type (in which the phenomenon is composed of single observations of a lot of variables) than to an experimental type (where there is the observation of repeated measures of the same variable). It is therefore possible to complete the quantitative analysis of the city with the use of multivariable analysis techniques. These techniques made it possible to simultaneously keep in mind all the relationships among the variables. Such statistical data treatment enriches the analysis with considerations about the relations between the different aspects of the investigated phenomenon and therefore to go over the elementary information of the first descriptive analysis. The Principal Components Analysis (PCA) can therefore be applied to the quantitative data included in the first part of the appraisal form, through the use of a software tool (like for example SPSS). In statistics, Principal Components Analysis is in fact a technique for simplifying a dataset, by reducing multidimensional datasets to lower dimensions for analysis. Principal Component Analysis (PCA) is, in other words, a mathematical procedure that transforms a number of (possibly) correlated variables into a (smaller) number of uncorrelated variables called principal components. The objective of Principal Component Analysis is to reduce the dimensionality (number of variables) of the dataset but retain most of the original variability in the data. The first principal component accounts for as much of the variability in the data as possible, and each succeeding component accounts for as much of the remaining variability as possible. The principal components, which are uncorrelated, are linear combinations of the initial variables. Technically speaking, PCA is an orthogonal linear transformation that transforms the data to a new coordinate system so that the greatest variance by any projection of the data comes to lie on the first coordinate (called the first principal component), the second greatest variance on the second coordinate, and so on. PCA can be used for dimensionality reduction in a dataset while retaining those characteristics of the dataset that contribute most to its variance, by keeping lower-order principal components and ignoring higher-order ones. Such low-order components often contain the most important aspects of the data. But this is not necessarily the case, depending on the application. The objective of the quantitative analysis is to produce some components (or factors) through which it was possible to simplify, to synthesize and to represent the city. The matrix of the data has therefore to be interpreted with the purpose of: a) reducing the multiple dimensions of the matrix through the transformation of the data in new uncorrelated variables (principal components or factors); b) building some synthetic dimensions able to interpret the territory through a set of new synthetic indexes. The calculation of the factors makes the construction of new indicators possible. Indicators are built through the evaluation of association degree between the original variables and each new factor. This result can be considered interesting both for interpreting and analysing the cities and as a proposal for the implementation of cultural planning in other realities. Cultural planning in fact strongly needs indicators or measures able to show the main characteristics of the territories with particular reference to the cultural sector. This is important also in order to apply a correct strategic planning methodology and optimize the positive impacts that the cultural development has on the city. The synthetic indexes built through the Principal Components Analysis can be considered as the elements of a Context Indicators System for the diagnosis of a territory. With regard to the treatment of data about cultural industries, the analysis can take into consideration the quantity of the different typologies and consider cultural industries according to the approach proposed by Colbert (2000). Colbert considers in fact that the cultural industries peculiarity is that they work on a product derived by a creative action. If it is true that products substantially from one sector to another, cultural industries can also assume different roles in relation to the product. These roles can regard planning, production, reproduction, distribution and monitoring the product. The production process is divided into: creation, production, preservation and distribution. Obviously a cultural enterprise can have one or more than one of the above mentioned functions, according to its mission: combinations between the different functions are also possible. In the diagnosis process, the Colbert classification can be widened, where possible, to include the local cultural heritage. In the data treatment 14

15 Project 3C Culture Competitiveness Creativity we therefore have to consider, not only the local cultural industries in a narrow sense (i.e. privates producing the cultural product or the cultural service) but also the amount of cultural infrastructures, such as theatres, galleries, etc. Finally, particularly meaningful data of the quantitative section concerns creativity. The analysis in this case is founded on the observation of the relationships among the presence of cultural infrastructures, the development of new technologies, the attraction of talent, the diffusion of new lifestyles and the tolerance of the local culture towards differences. On the basis of the original Florida classification of the three Ts (Talent, Technology and Tolerance) which are the engine for the city s creativity, a creativity index can be calculated, including the linear combination of all the measured variables and factors of this part of the data. b) Second step The technique for analysing the information obtained in step 1 through the focus groups and the interviews can be a classical text analysis. It consists of the followings steps: - Transcription of the group discussion; - Simple and cross-classification; - Analysis of contents; - Analysis of the meaningful segments; - Individualization of the recurrent elements; - Publication of a report; - Integration of the report with the other previous results. c) Third step Focus groups and interviews have all to be recorded and then listened to another time for transcription: results can then be used for doing a first SWOT analysis (Strengths-Weaknesses-Opportunities-Threats) for the characterization of the cultural sector of the city. In this method, future scenarios are agreed, on the basis of a joint analysis among experts and stakeholders, using context data. The aim of any SWOT analysis is in fact to isolate the key environmental factors that are important to a marketing plan. SWOT group key pieces of information into two main categories: - Internal factors: the strengths and weaknesses internal to the organization / territory, i.e., its strategies and its position in relation to its competitors. - External factors: the opportunities and threats presented by the external environment and the competition. The internal factors may be viewed as strengths or weaknesses depending upon their impact on their own positions. That is, they may represent a strength for one organization/territory but a weakness, in relative terms, for another. The external factors may include macroeconomic matters such as technological change, legislation, and socio-cultural changes, as well as changes in the marketplace or competitive position. The results are often presented in the form of a matrix. The SWOT analysis phases are: 1. Information and data collection, analysis of the territorial context where cultural planning has to be carried out (social-demographic, cultural and economic indexes) and identification of main trends and problems; 2. Classification of data/information in order to select the most relevant ones; 3. External context analysis and identification of opportunities and threats (O&T); 4. Planning context analysis and identification of factors, even those partially under one s control, which can facilitate or hinder local development (S&W); 5. Classification / selection of possible actions on the basis of their relevance, i.e.: identification of actions (strategic guidelines) which (using strengths, reducing weaknesses, maximizing opportunities and minimizing threats) are considered the most suitable for reducing development problems. Phase 1 can make use of the information collected from the appraisal form. Phase 2 can be carried out through a joint work of the focus group moderators, together with technical personnel from each Municipality and face to face interviews. Phase 3 is the final analysis of results and development of strategic actions which will be further explained in details in the next chapter. The SWOT matrix Strengths Weaknesses Opportunities Threats 15

16 PRACTICAL GUIDE FOR THE DEVELOPMENT OF THE CULTURAL SECTOR AND THE PROMOTION OF CREATIVITY 2.3 The analytical index for writing a local diagnosis The final result of the characterization process for a city, after the collection of information given by the appraisal and diagnosis forms, is the writing of a diagnosis document. The information has obviously to be selected according to specific objectives and in order to compare its own general framework with other different realities. The diagnosis can be greatly enriched by the examination of different documents and information previously produced regarding the city and its province (according to a process of meta-analysis), including current municipal strategic documents. Policy lines and conclusions can be also based on strategies already defined by the Municipality but above all, as explained, on the work undertaken on a local level through the organization of focus groups and face-to-face interviews which involve key actors (both private and public) and stakeholders of the cultural sector. The diagnosis document gives a picture of the cultural sector in a city and of the local participation of residents. Tourism, with particular regard to cultural tourism, has also to be taken in consideration as an important element in the city s cultural life. In order to help write the above mentioned document, this handbook suggests a possible structure, through an analytical index describing what the contents of each paragraph should be. The analytical index is included in Annex 3. 3 Methodology for phase II: determination of strategies and measures for the cultural sector As foreseen by the cultural planning methodology, the diagnostic phase is followed by a process of identification of strategies and measures suggested by the local cultural actors: they will integrate and complete the local action plan for the cultural sector. The process starts with the SWOT matrix and results in the preliminary proposals of strategic lines identified in the previous phase. The main aim of a strategic approach consists of researching a strategic coherence, i.e. in the individualization of solutions that make a strategy effective. Strategy does not have to oppose the history and the path already undertaken by the local government bodies; it is not necessary for it to be absolutely new or revolutionary: rather it should bring together the widest possible local participation, gather the best previous experiences and know-how, and anticipate noticeable changes of the surrounding environment. Finally, it is important to consider the organizational structure which will sustain the implementation of the strategy. A strategic approach is particularly relevant for the cultural industries, taking place within the context of the new economy. A strategic approach for the cultural industries should: encompass the observation of environmental changes, recognizing their structural or economic nature; plan their business activity on the basis of objectives and plans; create the necessary conditions (organizational, financial, communication and marketing) for the development of the strategic policies; control the profile and the validity of the results in the future. Regarding contents, a strategy for the cultural industries can assume different forms: Organizational strategy (general structure); Economic-financial strategy; Integration / diversification strategy (positioning in the social economic reference environment); Area of activity strategy (decisions on portfolio of activities); Operational strategies. A strategic approach, widely used for cultural industries, should be considered in a wider sense, involving the whole territory where the city is situated. It is, moreover, clear that the long-term planning model is not the right one for its rigidity which does not take into consideration the recent increase in the dynamisation of local economies. The methodological proposal for developing a city plan, herewith briefly described, takes all the above mentioned aspects into consideration. The involvement of local cultural industries and local cultural actors was previously underlined (chapter on characterization of the territories). Their role is increasingly important in this phase, i.e. designing local cultural strategies. Diagnosis activities and pilot actions will not be effective if the creative sector of the area is not permanently involved in the future city development strategies. This is why we propose a model of cultural planning which can be defined as a networking model (about different 16

17 Project 3C Culture Competitiveness Creativity models in cultural and, more generally speaking, strategic planning), in which local creative industries have to be involved in bringing attention and insight to important local and global issues (for example going to schools, encouraging community dialogue about social issues, creating knowledge of and passion for the city s past). Culture must be interpreted as a tool of social cohesion as well as a contribution to the economic growth of the territory. These local actors therefore have to be part of the cultural planning approach, starting from the activities foreseen in this phase through the presentation and selection of proposals coming from them. This can occur thanks to the holding of roundtables which deal with the important elements to be considered in local cultural planning. Each roundtable has to collect the proposals made by the actors involved according to a sub-division into different sections or topics. Moreover, it has to select the proposals and prepare a final document with projects to be implemented according to the defined strategies for promotion and development of local cultural industries and valorisation of the local cultural heritage. Some possible methodological tools to be used for designing local strategies are briefly described in Paragraph 3.3 of this Chapter. 3.1 Technical steps / procedure In order both to discuss local strategies and prepare pilot actions, we suggest some simple steps to be undertaken: Technical meeting Organization of a technical meeting in order to plan the following phases, decide organizations/people who will be invited to participate, decide which documents will be necessary to prepare, and decide the calendar of the other activities Invitation letter Preparation of a letter to contact local partners (participants in previous focus groups, interviews, meetings) and other main actors / stakeholders. The letter will briefly explain the working plan objectives, what has been done, request their cooperation and invite participants to a first informative meeting. It is strongly suggested to have the letter signed by the mayor, even if he/she will not be able to participate in the meetings. The letter should be sent, directly proposing a date for the meeting and a deadline to confirm participation. A model of this kind of letter is described in Box 2. Box 2 EXAMPLE OF LETTER Address of participant Dear Sir/Madam, In the last few years, the City Council of... or the Government of..., has been working on the preparation and execution of projects which have has been possible in great measure thanks to the contribution of... In this context, name of the local coordinator is currently developing a project for developing a city plan based on the cultural sector. Add a short description of the organization and objectives of the process. The objective of our work is to discover new ways and methodologies to develop the economic potential of cultural industries and to experience alternative focuses for the appraisal and valorization of the local Historical Heritage starting from the development of Contemporary Creativity. For this reason, we are working to apply the Strategic Planning methodology. The methodology is articulated in four phases: Diagnosis, Determination of Strategies and Measures, Implementation of Pilot Actions and Evaluation-Presentation or Results. This is developed in the local scenarios in a process of continuous interaction, and it is necessary to set up, throughout the process, a partnership of cultural agents composed of the key actors of the territory. 17

18 PRACTICAL GUIDE FOR THE DEVELOPMENT OF THE CULTURAL SECTOR AND THE PROMOTION OF CREATIVITY We would like to inform you that the first phase of Diagnosis has just been concluded and the second phase begun. This phase of Determination of Strategies and Measures is aimed toward the development of the local cultural industries using the local cultural heritage as its base and considering the implication of a real improvement of the quality of the local cultural sector. In order to inform you more fully, we are pleased to invite you to a meeting which will take place next...day..., at... hour... in...place and complete address... We hereby enclose the meeting agenda and ask that you to kindly confirm your attendance on the following numbers: Tel. Fax We look forward to hearing from you soon, Best regards, THE CITY MAYOR or LOCAL GOVERNMENT REPRESENTATIVE Informative meeting Organization of an informative meeting addressed to a set of qualified cultural actors, whose main objectives will be to present the project, the local diagnosis (SWOT analysis and identified strategic lines), the working methodology for proposing proposals of actions, distribute material, verify who is going to participate in the following roundtables and to which one (participants can choose to participate in one or more than one), distribute the proposal schemes, and answer any questions. Models of the registration form and an example of proposal scheme are described in Boxes 3 and 4. The proposal scheme will summarize the topic of the roundtable and the sections where each participant will be able to include his/her idea of action. Boxes 3 and 4 show one of the registration forms and one example of a proposal scheme used within 3C project concerning City as a Cultural Product. Box 3 - REGISTRATION FORM FOR PARTICIPATING IN WORKING MEETINGS AND ROUNDTABLES Please fill in the information below and select the roundtable (or the roundtables) you would like to participate in. It is possible to participate in both the roundtables. PERSONAL DATA Name and Surname: Organization: Position: Address: Telephone: Fax: 18

19 Project 3C Culture Competitiveness Creativity ROUNDTABLES ROUNDTABLE ON THE CITY/TERRITORY AS A CULTURAL PRODUCT Section 1: Preservation and development of the city/territory s cultural identity Section 2: Heritage management and dynamization (minor resources) Section 3: Cultural activities, intervention in secondary supply (institutional, social and economic factors, infrastructures, intangible heritage) Section 4: Increase in production and clients (residents and tourists) for the cultural industries ROUNDTABLE ON THE CITY/TERRITORY COMMUNICATION AND NETWORKING Section 1: Communication and promotion of the territory Section 2: Communication with cultural industries Section 3: Fund raising and sponsorship Section 4: Networking, involvement of public and private actors Please reply via fax or via sending the other requested documents no later than, to the following address/ fax number:... (contact person:...) Box 4 - PROPOSAL SCHEME 1 ROUNDTABLE ON THE CITY/TERRITORY as A CULTURAL PRODUCT Please select the section your proposal belongs to Section 1: Preservation and development of the city/territory s cultural identity Section 2: Heritage management and dynamization (minor resources) Section 3: Cultural activities, intervention in secondary supply (institutions, infrastructures, intangible heritage) Section 4: Increase in production and clients (residents and tourists) for the cultural industries Section 5:... (optional) Name and Surname: Organisation: 1. PROPOSAL / PROPOSED ACTION: 2. JUSTIFICATION AND DESCRIPTION OF ACTION: 3. POSITIVE EFFECTS OF THE ACTION ON THE CREATIVE SECTOR (i.e. public satisfaction, increase in stays, increase in labour market, etc.) 19

20 PRACTICAL GUIDE FOR THE DEVELOPMENT OF THE CULTURAL SECTOR AND THE PROMOTION OF CREATIVITY 4. ORGANIZATIONS TO BE INVOLVED IN THE IMPLEMENTATION OF THE ACTION: 5.-OTHER: Collection Collection of registration forms for the roundtables and of the proposal schemes. Then it will be necessary to order the proposed actions for each strategic line and/or section and make a first draft of a document for Strategies and Tools, which will be the base document for the following discussions First roundtable A first roundtable will be organized with local network partners and other main actors / stakeholders for collecting any additional proposal schemes, presenting the first draft of proposals, select the most interesting ones, discussing and eventually adjusting them. Two sessions will be held Integration On the basis of the first roundtable results, it will be necessary to integrate the different contributions with conclusions derived from the first roundtable, through the drafting of a second document which will include considerations and suggestions by the experts Second roundtable The aim of the roundtable will be to determine the set of actions to be included in the final local strategic lines and, in some cases, to decide which one of them can be chosen to be implemented as a pilot action as experimental application of the development plan. 3.2 Participation of local actors The participation in and the development of this phase will be implemented through two different cooperation lines: Letting local network partners and actors draft proposals (actions) to be locally developed within the cultural sector and other related sectors. Increasing networking through their participation in the roundtables. It is obvious that all the information gathered will need to be harmonized, according to a common methodology. For each phase, it is important to give the complete address of one or more contact persons to whom partners can ask questions, send registration forms and proposal schemes, etc., i.e.: Municipality address and contact person Tel., fax and Drafting of proposals The set of actions contemplated by the roundtables will derive from the proposals that participants (network partners, local actors and stakeholders) will carry out to improve the sector. For this reason a method for collecting and ordering the proposals is important. Therefore, a proposal scheme is suggested (see Box 4). It contains some paragraphs which should be filled in, in order to get the most exact description of the action that is desirable and to be carried out. A single scheme should be used for each proposed action, checking the correspondence between the action typology and the roundtable (for example, a different colour of paper can be used for each roundtable). Moreover the correspondence between the action characteristics and the chosen section should be carefully controlled after collection and reallocated in the right section if necessary. 20

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