Contacting the World was the month’s highlight. A festival of quality theatre (with only one or two exceptions) produced by emerging artists. The festival is special in so many ways and thanks and credit are due to Noel Grieg, who conceived it, and John McGrath and Julia Turpin, whose passion, commitment to inclusivity and leadership make the festival what it is. To understand the festival and its ethos, it is best to visit www.contactingtheworld.org… Many claimed that Bare Feet Theatre Company was the highlight of the festival. This was down to their performances, energy, the very fact that they made it out of Africa, and their relationship with their international creative partners, The Other Side of the Mirror from Gdansk. What made it more special for us at Hope Street was that the company was formed, with young people living on the streets in Zambia, by our former Trainee Director Adam McGuigan, a young director who is an amazing, inspirational visionary. Check out his website: www.adamstravels.com - and please give him some money… The EveryWord Festival showcasing work by emerging writers included two exceptional pieces directed by Alan Richardson and performed by Tmesis Theatre.

Funding is becoming increasingly difficult to secure. The impending ‘credit crunch’, increased competition for funding, mainstreaming of activities, plus the increasing significance and power of the larger organisations in the city (LARC - Liverpool Arts Regeneration Consortium - aka the Big Eight) is starting to impact on the smaller organisations. Much of my time is spent on attempting secure funds and lobby for the small and medium sized organisations through SMAC (Small & Medium Arts Collective). Hope Street is not alone and other small organisations are beginning to feel what will inevitably follow being Capital of Culture… EuroCities invited me to speak at their annual conference about the impact of Capital of Culture on small and medium arts organisations. I was nervous but honoured to share the same session with Sir Bob Scott and Dr. Beatriz Garcia… My treat, after the conference, was to visit Liverpool One, Liverpool’s new shopping district that connects the city centre to the river like never before. A fantastic experience… Our collaboration with Momentum Theatre continued with Physical Fest 4, a festival growing in significance and stature; one of the festival’s highlights being Yoshi Oida… Another highlight was the Hope Street produced About Another Place, a promenade performance piece that will be developed in 2009 by UK playwright Mike Kenny and French director and designer Catherine Poher. The piece incorporates Antony Gormley’s world famous statues… As I attempted to see something of everything that was taking place this month, I recalled statements made by artists in Rotterdam, who said that there as simply too much going on and audiences were spoilt for choice… I felt swamped by the plethora of events, festivals and shows taking place in June: Lord Mayor’s Parade, Ark Royal, Splatterfest, Comedy Festival, a packed season at the Unity and new plays at the Everyman and Playhouse… Admittedly, I was in Croatia for some of June; there I saw (on TV) the opening ceremony of the Rijeka Festival, which was stunning, and more impressive than the finale of the Streets Ahead Festival… Highlight of the month? Superlambananas - 116 of them around the city designed by local artists and community groups. We’ve seen this kind of thing before with the decorated cows in numerous cities (I spotted them last in Marseille), but what a stroke of genius to make something as unpopular as the Superlambanana was, as treasured as it now is.

Streets Ahead provided three days of street theatre and spectacle. It was like being in Manchester a few years ago. Streets Ahead was transposed from there to here. Three days and now what? Will it leave a legacy? Perhaps if someone had had the foresight a few years ago to deliver a training programme for local, national and international performers in readiness for 2008, there’d have been a build up and a legacy - as well as a year long programme of activity in the city… Such a programme would have brought the world’s best street acts and outdoor spectacle and made a real impact over several years, rather than just one weekend. (Any future Cultural Capitals interested in such a programme, please contact me or alan@hope-street.org - we have the programme and the ideas…) Some highlights: from France, Cachuette’s shopfront entertainment, and from the UK, Fraser Hooper and Avanti Display. Hope Street’s 20 emerging artist commenced their 6-month Apprenticeship Programme, certainly one of my highlights for 2008. They are the next generation of artists in the city and, although our 20-year history is relevant, what is important is what they contribute to the ever-changing landscape. They’re an exceptional group and will make a difference to the arts in this city in the years that follow. Check out what they are doing by visiting www.hope-street.org

Dream Think Speak (www.dreamthinkspeak.com) at the Anglican Cathedral was exciting, inventive and one of the highlights of the 2008 programme. The installation/performance, conceived and directed by Tristan Sharps made use of pretty much every nook and cranny of the Anglican Cathedral. The project integrated local performers, worked collaboratively with local institutions (including Hope Street Ltd and LIPA) and provided something totally new for the city, that has enthralled the public, but also local artists who will certainly have learned from this and will inspire their work in the future. This is one of the things that makes Capital of Culture… Before I embarked on my Grand Tour, Claire Hamilton, presenter of BBC Radio Merseyside’s culture programme interviewed me. During 2008, and suggested by the wonderful radio presenter and producer, Angela Heslop, I’m participating in a series of ‘conversations’ with key people I met during my travels. My first was with Graz journalist Thomas Wolkinger.

Liverpool: Centre of the Creative Universe… At the very last minute, and because another arts organisation decided to withdraw from the project, Hope Street was commissioned to produce a short play and workshop to accompany Mark Hill’s Orrery sculpture. The aim of the project is to raise awareness of school children to Liverpool’s cultural offer. We were proud to learn that this project would be the Creative Communities’ flagship project until July when the tour would finish and would be visited by the Department of Culture, Media & Sport, ministers and representatives from future and former Cultural Capitals. The sculpture and an extract from the workshop was presented to HRH Queen Elizabeth II during her visit to the city to open the 10,000 seat Arena & Convention Centre. As a 5-year old, on a holiday in Devon, I waved a Union Jack, hastily made (with white handkerchief and lipstick) by my mum, at the Queen as she passed by in her Daimler. This time I was presented to her. I doubt she remembered me from our first encounter…

Arts Council England’s recent spending review - perhaps the biggest shake up since the Arts Council was launched - made its impact in the North West with a number of organisations being cut (including double Edinburgh Fringe First Winners, Rejects Revenge, a company to emerge from Hope Street in 1990 (and one whose tour of Albania in the I was proud to manage). New companies were welcomed as Regularly Funded Organisations (including Collective Encounters at £46k and PANDA at £50k in their first year). Some companies were awarded increases of between 10% and 300%. Unfortunately, Hope Street was not one of them and remains on £38k. An uplift would have assisted in what will prove to be a difficult year financially for the organisation. We look forward to the next spending review. Helen Flooks, one of the finest people to grace this planet, died in a tragic accident in South America whilst living out her dream. Helen was a brilliant theatre practitioner who, through theatre, dedicated her life to making a difference to other people’s lives. She was a graduate of Hope Street’s Physical Theatre Programme, she set up Unity’s Youth Theatre, and worked as an actor, director, workshop leader and mentor in dozens of organisations and schools across Liverpool. She was an inspiration, and touched people in meaningful and special ways. Aside from her professional life, she was a bloody good mate. She’ll be missed much, by many.

People’s Opening: Fireworks, the Wombats, people seemingly carried by a crane in a cargo container, Ringo Starr and endless lines of children carrying lanterns celebrated the launch of Liverpool’s year as Capital of Culture. The crowds gathered (desperate for a sing-a-long, and disappointed they didn’t get one) but the buzz in the air was fantastic. No doubt the event will have its critics, but this was a great night for Liverpool. The eyes of the world were on us. Liverpool was the fifth most popular Google search and millions of people watched on TV in America. A momentous start to 2008. ..Presentations Galore: Bursting with information gathered on my ‘Grand Tour’, I have made a number of presentations to the Arts Council, SMAC (Small & Medium Arts Collective), LARC (Liverpool Arts Regeneration Campaign), and have been invited to speak at two conferences, to a delegation from Stavanger and a delegation of journalists and politicians from Graz… Official Guide: An impressive book, a wonderful souvenir, but a shame it is peppered with mistakes and needed to be re-printed…

So, after a five-year build up, it’s here… Liverpool is the Cultural Capital of Europe 2008 (proudly sharing the title with Stavanger, Norway).

On New Years’ Eve it suddenly hit me that tomorrow, Liverpool would be the Cultural Capital of Europe. So much expectation, so much build up and so many opportunities. I was in Zagreb over the new year and felt distanced from the celebrations that would herald this momentous year.

I have no doubt that the year will be a great success. There are many arts organisations that will produce excellent projects and programmes to ensure a varied and exciting year for local people and for visitors from the UK and the rest of the world. The Culture Company team has also worked enthusiastically amidst many controversies and setbacks. They should be commended for their efforts.

As you enter Liverpool’s city centre from every direction, you will be aware of its status as Cultural Capital of Europe 2008, but are visitors to Manchester and other cities aware…? I returned to the UK via Manchester Airport and saw no sign that only 30 miles away; the city of Liverpool was celebrating this accolade. Where are the banners and 08 logos? They should be in the entrance hall of this and other airports…

And what of 2009, 2010 and beyond…?

My research during my Grand Tour has left me feeling apprehensive about Liverpool’s future. We are way ahead of other cities in our long term strategic planning, but are we really prepared for the future…? I think not. I will also be continuing my research visiting more cities that have been Cultural Capitals. This additional research will be supported by Impacts 08, the company charged with the task of evaluating the impact of 2008 on Liverpool. In the meantime, I’ve got a year long of programme of activity to work on, details of which can be found at www.hope-street.org

Happy New Year. I wish you an enjoyable and memorable time if you visit Liverpool.

Mamma Mia! It was chilly in Stockholm. Clad in thermal vest, scarf and gloves, I spent three days here, one evening with Josette Bushell-Mingo (long time collaborator of Hope Street and Unity), and husband Stefan Karsberg and their two gorgeous boys Rueben and Joshua. One evening we had a 12 piece Sushi. I liked it so much, the next night I had an 18 piece one. Well, you have to eat when it’s cold… They both work at the stunning Riksteatern (www.riksteatern.se), Sweden’s leading national touring theatre.

Stockholm was Cultural Capital of Europe in 1998. Would I discover something new here? Stories of how arts organisations were engaged in the programme? How they have been strengthened since? How the arts infrastructure is more vibrant now, than in the years leading up to 1998? Well… No.

It seems that when it comes to Cultural Capitals, the name of the game seems to be pretty much the same: lots of expectation, big build up, opportunities missed, all efforts and eyes focussed on the year itself and no thought to, (let alone a strategy for) the future. This said, Sweden is different from the other former Cultural Capitals I’ve visited. It is a wealthy country and invest considerable amounts of money in the arts.

Arranging meetings in Stockholm proved most difficult of all the places I’ve been to, but thanks to Josette and Hanna Fokdal Barnekow, a Danish journalist living in Stockholm I had several interesting meetings with theatre companies, theatre directors performance artists and designers who had been involved in the 1998 programme. I also met two officers at the Arts Council of Sweden - Monnica Lindqvist who’d been part of the programming team and Per Svenson who wrote the evaluation report.

One of the key aims was to revitalise suburban areas and to engage multicultural communities in the year programme. There were differences of opinion as to how successful this was. But there is evidence that the community engagement programmes provided a legacy for the city through the development of new organisations, for example the art gallery in the neighbourhood area of Tiensta, a new circus organisation in Botkyrka, the ReOrient Festival and the Selam Festival (celebration of African culture). There was also an increase in the emergence of new companies working in a multicultural context. One music company was set up that includes immigrant musicians from all over the world, and now living in Sweden. This project continues.

The 1998 programme had its share of locally produced work and international artists invited to present work comprising multi-media performance, theatre and dancing. Queen Silvia Sommerlath and King Carl Gustav attended events, giving the events an added touch of regality. I wonder if Her Madge will be amongst the crowds on Lime Street tapping her foot to the beat of Ringo’s drums atop St. George’s Hall.

The venues were given additional funding for the year to bring more international work to the city and there is agreement that the year brought an international focus to the city. But, as is the story everywhere else, “no-one thought beyond 1998”.

There were a number of criticisms of the Cultural Capital organising company, particularly in respect of the unclear procedures employed for small/medium sized organisations to propose projects for inclusion in the 1998 programme. They found themselves under attack for not being transparent in their decisions to accept or reject proposed projects. This meant that some organisations felt excluded from the programme. It seems like there were a number of battles during the year with questions raised as to whether Stockholm was worthy of being Capital of Culture. I hope we don’t face our own series of mini-Waterloos in Liverpool next year.

I met Peder Bjurman, a writer and director and long time collaborator of Robert Lepage who first came to Stockholm in 1994 and returned in 1998. Sadly he does not continue to present work in the city. Peder is currently developing a production agency - Loco-Motion - for small to medium sized theatre companies (www.loco-motion.se) and is aiming to establish a ‘creation centre’ in a disused warehouse. It would appear that the organising company of 1998 did not establish any long term sustainable structures for the small/medium sized companies and they felt as though the year and subsequent years had no benefits for them.

1998 and the years that followed had a positive impact on artists Bigert & Bergstöm (www.bigertbergstrom.com) who were commissioned to produce, what turned out to be a controversial, installation in a shop window. The exhibition, “Deathwatch”, featured the underwear of executed prisoners. It caused a stir amongst the staff and the public (Is it art? Should it be funded as part of Cultural Capital?) but it made the public more aware of the duo and it inspired them to produce a film continuing the theme of the installation.

On the subject of strange sights… I encountered one as I made my way home one evening. Two women walking down the hill grasping ski poles. No skis. No snow…. Another unusual sight was the absence of chewing gum on the pavements. Quite remarkable.

But the strangest phenomenon of all was that the off licenses close at 6pm. Except for Friday and Saturday when they remain open until 7pm. As the minutes ticked by and my meetings ran on, my desire for a glass of wine increased. I was close to sending out an S.O.S. to ensure I didn’t miss closing time.

I was head over heels to be in the land of the Swedish Super Troupers and of course, a visit to Stockholm wouldn’t be complete without a visit to the Abba Museum… Sadly, it doesn’t open until 2009, A-ha. Until then, so long Stockholm. I do hope to return to see it.

As I returned to England I overheard two English blokes who’d done an appraisal of an organisation in Zagreb. They were discussing the danger spots of the organisations corridors and public spaces… cables loose on the floor, other obstructions, no warning signs and so on. I’d almost forgotten about risk assessments and all that. One of us had to move away before they had to do a risk assessment on my blood pressure rising. As we walked through the gate to the aircraft, we stepped over large puddles created by the 72 hour downpour there’d been in the city. I wonder if someone had done a risk assessment for them?

Gdansk is one of the 6 Cities on the Edge cities (along with Bremen, Istanbul, Napoli, Marseille and Liverpool). It is also bidding to be Cultural Capital of Europe in 2016.

My visit to the city was to meet with arts organisations and artists interested in developing links with Hope Street for its 2009 or 2010 programme, to look for opportunities for Liverpool’s artists to work with organisations in Gdansk and to explore ways in which we can jointly develop projects that complement the Cities on the Edge programme.

As in Liverpool, there is some uncertainty amongst artists and organisations as to what the programme actually is. Local organisations told me that there have been a number of meetings in the various edgy cities and all are eagerly awaiting the development of projects.

I met with some organisations linked to the programme, funded by Gdansk city council, and with independent organisations, and with an independent film maker.

There are nine Gdansk City Cultural Centres dotted around the city. They’ve existed for 40 years and each has its own artistic policy. The one I visited had recently held a conference focussing on how arts can be used as a tool for inclusion. The Centre for Contemporary Arts centre promotes exhibitions, experimental music projects and short films. It also provides workshops ranging from master classes to workshops for children. One of its priorities is to eliminate the gap between the old city and the area it is based in created by a main road that tears the two parts of the city apart. The area is described as being in need of revitalisation and regeneration. The arts centre plays a vital role in engaging the community in the arts.

The independent organisations are the ones I consider to be the most likely collaborators with Hope Street and associated artists. The Baltic Cultural Centre (www.nck.org.pl/eng/nck.php), not unlike Hope Street, describes itself as a selfless organisation that puts artists and their opportunities first. It identifies projects for artists to engage with and organisers festivals, exhibitions and exchanges. It is based in the only building to survive the flattening of the city during WW2.

Kultura Miejska (www.kulturamiejska.pl/) is a newly established organisation based in the old Heineken brewery based in a fast developing area, 10 minutes drive outside the centre and experiencing multiple levels of deprivation. The organisation has developed its mission and is now developing its programme for 2009. In December it stages a sound installation that will be broadcast using the original sound speaker installed in the factory. The installation has been created by a local sound designer and integrates the sounds of London with the voices of Polish people, qualified doctors, solicitors and so forth who, desperate to find employment have left their country to find a better life and are now living in London working cafes and bars.

And finally, the Artists’ Colony, the most exciting and inspirational location for an arts organisation. Based in the former Shipyards of Gdansk, some of which are still operational, but many of the grand industrial buildings are now derelict. The Artists’ Colony was set up by two artists who were offered the five storey building by one of the owners of the shipyards; he saw it as an opportunity to revitalise the area through the work of local artists. The colony is run on a voluntary basis and provides artists’ studios, research and development opportunities, residencies for artists, performances and exhibitions.

We’re hoping to work with a designer from Gdansk in 2008 on the Hope Street Feast, a street theatre extravaganza that we’ve been commissioned to produce as part of the Official Liverpool 2008 Programme.

Being on the Baltic Sea Coast provided the added advantage of the most delicious fish restaurants. I splashed out (excuse the pun) and had Oysters, Mazurian Sander and a fish soup. Yum.