Urban cultural policies and development of creative industries

Belgrade creative city perspective Milena Dragicevic Sesic

Cultural policy professionalization

• Rutinization of cultural policies • Sectorialization • Focusing on institutions • traditional approach If succesful: • Orientation on quality achievements

Cultural policy as part of strategic program

• Orientation to market demands • Seeing a global pictures • Following trends • Initiating new concepts

Evidence based cultural policy – possibility?

• No tradition for evidence based cultural policy in the region • Relying on thoughts, big ideas • Despising the facts and “banal data” • Respect for the central guidance (in spite of self-governing system in ex-Yu) • Authoritarian and egalitarian values

Stimulans for city policy making

• Andre Malraux – top-down approach • Jack Lang – contracts with municipalities • British stimulans for strategic planning (New inspection regimes: Best Value, Comprehensive Performance Assessment)

tasks of the city public policies

(re)defining

city identity

, based on: -

collective memories

- cultural

heritage

of people, (built and intangible) and

vision of future

gathering consensus among: - main political agents, - public opinion makers (intellectuals, educators, media practitioners…).

Cities in decline – cities in motion

• Politics of oblivion • Politics of status quo • Politics of waiting • Active policies… • Secret cities of USSR – motor of military and nuclear development – non-existent in present day debate • Future of Akademgorodok?

Palanka - cities

• Substitute for industrialization – small commerc (kioskization) • Next step: Small and medium enterprises • Next step: Foreign investments Forgotten issues: • How to integrate lost memory in future development?

• How to start endogenous development

Policies of new “urbazone”

• Hundreds of use of the word “urban” /in contemporary media, meaning: fashionable consumeristic oriented individual cosmopolite hedonistic orientation fun, entertainment branding as key issue…

Shortcut to Creative Belgrade?

Key agents: ad agencies Culture as Design – consumption pattern • Shopping • Eating • Socializing (coffee houses) • Beaches… (river and lake…) • Movies • Festivals…

A shortcut to creative Amsterdam

• Change as a constant (letter of the maire) Five stories: 1. Westergasfabriek – cultural park 2. Jenifer Tee 3. Viktor & Rolf 4. Zuidas 5. Breeding grounds

Key words

• I am

sterdam – (un)expected • Inspiring storeys • Fashion, art, nightlife, design • Imagination rules • Creative crossroads • Creative diplomacy (lloyd hotel)

• playground

Creative industries of socialism period (1985 – 2000)

• Enterpreneurial initiatives of Ljubisa Ristic: - Avala fest (re-use of Film city) - Sugar factory renewal (LED art intervention against Project X, 1996.) Barutana – renewed Kalemegdan powder storage + lagums of Belgrade as coffee bars Belgrade – Europolis … Sava amphitheater

Belgrade five stories

• • • • • From resistance to creative industries: B92 (Radio-TV-video), REX, Samizdat Center for Cultural Decontamination, Skart… Publikum – FIA Independent publishing houses: CLIO, Geopoetika, Rende… Music production – from rock to Serbia sounds global

Non-political initiatives

• Non commercial - New moment review and art gallery - Grifon prize for graphic design • Commercial: - Pink television (City records…) - BK Television + BK sound - Komuna - Fashion week

Fashion - Design

Creative industries of Belgrade

http://www.infostud.com

www.krstarica.com

http://www.kliknalink.co.yu

www.izlazak.com/ www.yellowcab.co.yu/dogadjaj

.

www.virtualnigrad.com

Cultural policy – new initiatives

1.

2.

3.

4.

Business & Art award: O3one gallery – design & everyday life Beton hala – Superspace gallery Kunsthalle & Museums in old military barracks (City museum) Old Fair – memory park or disco club

Old fair – view from 30`

Fair – high prestige int. events -30` Concentration camp 40` Art ateliers – since 50` first Waiting for Godot in the Eastern World (59) What to do now?

Memorial park?

Cultural-art center?

Club Poseydon?

Club New Laguna?

Urban policy initiatives

• 60` Skadarlija (+ Kosancicev venac) • 70` Payton City - Cubura • 80` Knez Mihajlova 90` - without policy initiatives • 6. - 13. May 2006 – Week of Architecture. • Fontana? Memory of cosmopolitan Belgrade of 60` City Center… Kunsthalle

Type of activity Privatization in culture Cultural institutions cinemas Legal subjects in privatization process 2 9 Radio and Television Book publishing newspapers Review & magazins pub.

Music publishing Other publishing Total 1 12 1 1 2 2 30 Realized privatizations 1 2 1 3 0 0 2 1 10

Serbian creative industries

• Film production – 179 comp. (157 active) • Music production companies – 46 • Publishing companies – 517 active • Radio & Television – 139 Radio&TV stations (105 still in public ownership) - 543 radio stations - 73 Tv stations • Daily newspapers - 21

Number of employed

Total Type of activity Industry Publishing, printing Communal services 2001 1752226 619113 21037 49366 2002 1676835 566635 20013 49119 2003 1611632 525374 19780 48267 2004 1580140 483654 19817 49412 Cultural and activities similar 20749 21 646 21 168 -

Research: survey of Belgrade CI SAIT team: Slobodan Cvejic, M.Dragicevic Sesic…

CI group No. of respondents % in whole CI

Poetry, literary/creative writing Dance (traditional, modern), balley Acting (theatre, movie) Other professions related to theatre Other profess. related to movie/video Classical music (vocal, instrumental) Modern music (vocal, instrumental) Painting, sculpture Crafts and grafic arts Architecture Design Photography, computers, new media, mixed media, performance TOTAL 56 44 54 52 54 36 51 40 45 54 40 41 576 13 2 8 8 4 4 11 17 9 13 4 7 100

Basic characteristics

• 43% women and 57% men. • 34 years old in average, ranging from 15 to 77, but with majority concentrated between 20 and 35 (2/3). • 62% were born in Belgrade, 6% in other big cities of former Yugoslavia, 30% in middle size cities of nowdays or former Yugoslavia, and 2% were born abroad. • 41% completed university education, 29% completed third degree or is at graduate studies now, and 21% has spetialization degree. Only 9% has only secondary education,. • 60% of respondents does only CI job for living, 13% is basicaly relied upon CI job, but does something else as well (teaching or expert work outside CI), and 27% does something else for living and has CI as second choice of activity.

Economic strength of CI in Belgrade

• •

84% make money out of their creative work. Their market is highly localized: - 82% Belgrade, - 38% in big cities in Serbia, - 27% reach former Yugoslavia states, - 16% has market in Southern-Eastern Europe, - 25% in Europe - 13% globaly.

•

Average annual personal income made in the crafts was 276,000 CSD (4,600 USD). - 10% has no income, - 16% between 40,000 and 100,000 CSD (660 and 1,700 USD), - 19% between 120,000 and 200,000 CSD (2,000 and 3,300 USD), - 19% between 240,000 and 300,000 (4,000 and 5,000 USD), - 17% from 350,000 to 600,000. the household annual income, it is 690,000 CSD (11,500 USD) in average (household economic strategy of artists).

CI group Poetry, literary/creative writing Dance (traditional, modern), balley Acting (theatre, movie) Other professions related to theatre Other profess. related to movie/video Classical music (vocal, instrumental) Modern music (vocal, instrumental) Painting, sculpture Crafts and grafic arts Architecture Design Photography, computers, new media, mixed media, performance Annual average in CSD 252,000 248,000 422,000 400,000 487,000 196,000 293,000 138,000 182,000 313,000 310,000 264,000 In USD 4,200 4,100 7,000 6,700 8,100 3,300 5,000 2,300 3,000 5,200 5,200 4,400 Variation inside the group High Very low Standard Standard Standard Standard Very high High Low Very low High Very high

Living conditions

39% of them live at their parents’, relatives’ or friends’. 38% posses an appartment 20% rent for the place they live in. 17% live alone, 26% live in 2 person household, 28% in 3 person household, 22% in 4 person household, 7% in 5 or more person household. 6% of the sample lives in studio space, 12% in no bedroom appartment, 36% in one bedroom apprtment, 29% in 2 bedroom appartment. 33% up to 50 sqm, 34% in 51-70 sqm, 25% in 71-100 sqm 8% in more than 100 sqm.

NEEDS: SPECIAL FACILITY Natural light High-load bearing floors Special electrical wiring Special plumbing Special ventilation Soundproofing Wheelchair access Oversized doors High ceilings Sprung floors Additional storage High speed data lines Selected in 3 Selected as the most important 66 8 28 4 26 38 1 7 27 3 24 40 46 1 7 * 6 16 * * 5 1 3 9

COMMON FACILITY Theatre/performance space Classroms Ootdoor work area Conference hall Copying machine and other office equipment Rehearsal space Dark room Foundry area Recording room Movie and video projection room Gallery space Retail space Paint room Sprung dance floor Satelite link Printmaking facilities 30 5 19 8 19 29 3 9 37 20 26 15 17 4 15 26 Selected in 3 The most Important 18 1 8 2 7 12 1 3 13 2 7 4 10 * 2 11

NEED FOR Housing Attelier or working space Tools, material, equipment, instrum.

Space for exhibition/performance Representatives and agents Insurance of space and equipment Insurance of art pieces Training, planning and business developm.

Accounting and legal support Marketing and sales Business loans Grants, help in application writing Technical or artistic training Transport/delivery Institutional and social support to free lancers Very urgent 30 33 24 23 37 21 39 31 19 48 40 39 20 27 73 32 31 22 25 33 23 17 19 23 35 34 25 24 23 35 Urgent Not urgent 51 44 41 43 38 54 38 34 Not applicable 1 2 4 11 9 19 14 9 49 21 38 36 47 50 10 15 7 16 14 8 32 5

CI organizations survey analysis

Field of activity Design companies Alternative theatres Private film companies Artists associations Galleries Publishing houses Book stores Music productions Advertising Total No. of units 6 7 3 7 7 6 5 6 6 53 % 11 13 6 13 13 11 9 11 11 100%

Legal status of CI organizations

• 64% of organizations/companies privately owned, • 31% were NGOs • 6% were state-owned companies.

number of employees:

• 54% has 0-3 permanently employed people • average for the sample is 11

NEED FOR Business space Working space (rehearsal, painting, etc Tools, material, equipment Space for exhibition/performance Representatives and agents Insurance of space and equipment Insurance of art pieces Training, planning and business developm.

Accounting and legal support Marketing and sales Business loans Grants and help in application writing Technical or artistic training in the field of interest Transport/delivery Institutional and social support Very urgent 44 56 26 29 34 22 30 18 10 43 26 13 7 16 56 Urgent 28 19 40 31 9 30 30 46 39 26 29 26 40 22 26 Not urgent 28 25 34 42 56 49 40 36 Not applicabl 19 40 28 32 40 30 43 38 51 32 45 61 53 63 19 26 11 28 42 43 40 19

Working space

• • • • • 8

% don’t have separate working space 57% rent their space 13% of cases a member of the organization/company owns the space, 15% of cases organization uses public space with minimal rent, 8% of cases they have another solution. The costs related to the space vary from 0 to 4,800,000 dinars (0 to 80,000 USD) per month. Average is cca 165,000 CSD (cca 2,700 USD) The largest number of respondents is concentrated between 40,000 and 60,000 CSD (650-1,000 USD). Average size of the space used is 160 sqm, (two modal intervals): a) between 30 and 50 sqm (20%) b) between 70 and 110 sqm (25%). In average, satisfaction with the working space, measured on the scale 1-10, is at the middle (6). 72% believe that their organization/company needs more space than they have now (of them).

Conclusions

Small private firms (bookstores, galleries, etc.) and NGOs are oriented towards cultural/artistic market, they want governmental assistance in approaching customers, resources and other organizations. They need more information, training in skills needed in transition from protectionist to open market system As for work space, their perception of their own position is not realistic: they want more space at lower rates by subsidized loans or rents. This means that in reconstructing an old industrial site or constructing a new building for CI, huge assistance would be needed from local institutions and banks. To make the whole project sustainable, CI people should be incited to widen their market and trained to operate under more competitive conditions .