24. Rotterdam, The Netherlands*
Being escorted to the correct platform/tram stop by young women continued. A technical fault between Utrecht and Rotterdam meant that all trains were cancelled. Several people ensured I got to Rotterdam eventually (via Amsterdam), but it was dental nurse, Samantha who directed me to my hotel when we finally did arrive.
Rotterdam started to make sense of my European tour. The links and connections started to mesh... I met my host, Else Petersen (Dansateliers) at the Dans Festival in Sibiu. I also had lunch with Mete Erke a musician who I met at the former Porcelain Factory in Pécs. He introduced me to another artist who was able to tell me of the impact on individual artists. And I also visited an artist led foundation where Volksrekorders, who I’d met at the UrbanFestival in Zagreb, were based. See how it’s all coming together....?
Rotterdam shared the title of Cultural Capital with Porto in 2001. I was hoping that the stories I’d hear would be more encouraging and that the impact on the small and medium scale arts sector was more positive.
I’d met former Artistic Director, Bert van Meggelen in Essen. He gave me an overview of the year and how he perceived the impact on the small to medium sector. He claimed that the year raised the expectations of arts organisations and that artists were inspired by the international work presented in the city. He described the development of one of the disused piers as a film centre, and that whilst this was a very successful venture, it was inspired rather than being strategically planned.
He told me that the year was of benefit to visual artists and theatre makers and designers working in the small scale and that the year led to the successful development of the Rotterdam Festivals. He had approved the development of this series of festivals only if they guaranteed they’d continue for at least five years. In 2007 the festivals are thriving...
I met with many actors, film makers, producers, musicians, designers, choreographers and arts managers in the city. Scapino Dance Company was often mentioned as one of the small organisations commissioned to develop a piece in 2001 and have since benefited.
But for the majority, it would appear that 2001 passed them by, with little or no impact. I was told repeatedly that the year had virtually no connection wit the majority of small to medium sized organisations and that they continued to deliver their usual artistic programme, almost parallel to official programme. Many claim that they are neither better nor worse off as a result of 2001. In terms of funding, it would appear that investment in cutting edge work produced on the small scale is on the decrease.
There was a general impression that the call for projects required organisations to present something completely new - [how often in the England do we suffer from this attitude from funders?] - and that too much funding was directed to marketing (“all we see is banners everywhere”). Many working in the independent small/medium arts sectors believed that the majority of the 2001 programme was provided by the 2001 organising office, and that this is where most of the additional funding for the year went. It is also the view of many that the year was “more about popular culture”, “high arts”, and “what would attracts tourists to the city”. There was a feeling also that local people suffered from an ‘overdose of culture’, that there was too much to see during the year.
The arts infrastructure appears to be strong in the city. Dance companies and agencies communicate effectively, as do theatre companies. There are also the fascinating artists’ foundations (Kumtk Complex, Kam Australis, Wilde Weten, Duende Stichting and B.a.D) who until 2001 didn’t communicate, but have since strengthened their links. There is a differing of opinion as to who initiated these closer links and effective communication. The arts sector claim it was they who initiated the networking. Others, once associated with the organising office claim the stronger links was a result of 2001. I don’t think it really matters. what’s important is that the organisations communicate and this strengthens them individually and as a sector.
Despite organisations in the main claiming that the year had made no impact, one artist who had lived and worked in the city all his life told me that 2001 established a respect for small scale organisations and developed their understanding that it is essential to invest in, and nourish the ‘roots’ of the arts, otherwise the work produced ‘at the top’ won’t grow. There was a recognition that much of the work produced by the large scale organisations is almost always influenced by the small scale cutting edge work.
The artists’ foundations are interesting. Most are now legal enterprises, but started off with squatting rights in a diverse range of buildings in the city. B.a.D based in the south of the city and home to a dozen or more artists and organisations (including Volksrekorders) have been squatting in the former domestic science block of a school since 1991. They are legal squatters and are have integrated well with the local community. B.a.D houses artists studios, making spaces, rehearsal rooms, living accommodation. The organisation hosts artists from all over the world and work is produced in and outside of their own space. The day I visited was the monthly ‘maintenance day’ when all the users of the building give their time freely to do essential maintenance, cleaning and odd jobs. something I think will become a feature at Hope Street when next year. Roll your sleeves up, Momentum, Jessica Bockler, Tanushka Marah, Ullaloom, Fool’s Proof.... oh, the list is endless!
Perhaps one of the city’s most important legacies from the year is the work developed in 2001 by Caroline Dieleman, who was responsible for the community engagement programme. There was already a history of arts work in communities prior to 2001 but there has been an increase since. It is perhaps in part due to the work developed in 2001 and the ever changing multiculturalism of the city that has meant that social inclusion and community engagement within the arts has leapt up the city’s agenda. The newly elected city leader has stated that all organisations need to include an element of community engagement in their artistic programme, otherwise they will not receive city council funding. Good intentions, but what about the organisations that are excellent at making art - in whatever form - but may not be good at working with vulnerable individuals or excluded communities. They exist in Liverpool so I’m sure they exist in Rotterdam and other cities. Making all arts organisations work with communities is not always appropriate and can be dangerous.
I realised I must be getting close to the end of the sabbatical... There were reminders of Liverpool and Hope Street around the city, not least the exact same font that the hotel I stayed in used for its logo as the font that Hope Street uses. Uncanny. (I've also returned to writing detailed reports... Sorry Alan).
* I asked numerous people why the country is called the Netherlands and Holland. I was given satisfactory explanations, which I won’t go into - check it out for yourselves). But an unanswered question is: If the English speak English, the Germans speak German, the Italians speak Italian (and so on), how is it that people from Holland/Netherlands speak Dutch? No-one could answer this.
Rotterdam started to make sense of my European tour. The links and connections started to mesh... I met my host, Else Petersen (Dansateliers) at the Dans Festival in Sibiu. I also had lunch with Mete Erke a musician who I met at the former Porcelain Factory in Pécs. He introduced me to another artist who was able to tell me of the impact on individual artists. And I also visited an artist led foundation where Volksrekorders, who I’d met at the UrbanFestival in Zagreb, were based. See how it’s all coming together....?
Rotterdam shared the title of Cultural Capital with Porto in 2001. I was hoping that the stories I’d hear would be more encouraging and that the impact on the small and medium scale arts sector was more positive.
I’d met former Artistic Director, Bert van Meggelen in Essen. He gave me an overview of the year and how he perceived the impact on the small to medium sector. He claimed that the year raised the expectations of arts organisations and that artists were inspired by the international work presented in the city. He described the development of one of the disused piers as a film centre, and that whilst this was a very successful venture, it was inspired rather than being strategically planned.
He told me that the year was of benefit to visual artists and theatre makers and designers working in the small scale and that the year led to the successful development of the Rotterdam Festivals. He had approved the development of this series of festivals only if they guaranteed they’d continue for at least five years. In 2007 the festivals are thriving...
I met with many actors, film makers, producers, musicians, designers, choreographers and arts managers in the city. Scapino Dance Company was often mentioned as one of the small organisations commissioned to develop a piece in 2001 and have since benefited.
But for the majority, it would appear that 2001 passed them by, with little or no impact. I was told repeatedly that the year had virtually no connection wit the majority of small to medium sized organisations and that they continued to deliver their usual artistic programme, almost parallel to official programme. Many claim that they are neither better nor worse off as a result of 2001. In terms of funding, it would appear that investment in cutting edge work produced on the small scale is on the decrease.
There was a general impression that the call for projects required organisations to present something completely new - [how often in the England do we suffer from this attitude from funders?] - and that too much funding was directed to marketing (“all we see is banners everywhere”). Many working in the independent small/medium arts sectors believed that the majority of the 2001 programme was provided by the 2001 organising office, and that this is where most of the additional funding for the year went. It is also the view of many that the year was “more about popular culture”, “high arts”, and “what would attracts tourists to the city”. There was a feeling also that local people suffered from an ‘overdose of culture’, that there was too much to see during the year.
The arts infrastructure appears to be strong in the city. Dance companies and agencies communicate effectively, as do theatre companies. There are also the fascinating artists’ foundations (Kumtk Complex, Kam Australis, Wilde Weten, Duende Stichting and B.a.D) who until 2001 didn’t communicate, but have since strengthened their links. There is a differing of opinion as to who initiated these closer links and effective communication. The arts sector claim it was they who initiated the networking. Others, once associated with the organising office claim the stronger links was a result of 2001. I don’t think it really matters. what’s important is that the organisations communicate and this strengthens them individually and as a sector.
Despite organisations in the main claiming that the year had made no impact, one artist who had lived and worked in the city all his life told me that 2001 established a respect for small scale organisations and developed their understanding that it is essential to invest in, and nourish the ‘roots’ of the arts, otherwise the work produced ‘at the top’ won’t grow. There was a recognition that much of the work produced by the large scale organisations is almost always influenced by the small scale cutting edge work.
The artists’ foundations are interesting. Most are now legal enterprises, but started off with squatting rights in a diverse range of buildings in the city. B.a.D based in the south of the city and home to a dozen or more artists and organisations (including Volksrekorders) have been squatting in the former domestic science block of a school since 1991. They are legal squatters and are have integrated well with the local community. B.a.D houses artists studios, making spaces, rehearsal rooms, living accommodation. The organisation hosts artists from all over the world and work is produced in and outside of their own space. The day I visited was the monthly ‘maintenance day’ when all the users of the building give their time freely to do essential maintenance, cleaning and odd jobs. something I think will become a feature at Hope Street when next year. Roll your sleeves up, Momentum, Jessica Bockler, Tanushka Marah, Ullaloom, Fool’s Proof.... oh, the list is endless!
Perhaps one of the city’s most important legacies from the year is the work developed in 2001 by Caroline Dieleman, who was responsible for the community engagement programme. There was already a history of arts work in communities prior to 2001 but there has been an increase since. It is perhaps in part due to the work developed in 2001 and the ever changing multiculturalism of the city that has meant that social inclusion and community engagement within the arts has leapt up the city’s agenda. The newly elected city leader has stated that all organisations need to include an element of community engagement in their artistic programme, otherwise they will not receive city council funding. Good intentions, but what about the organisations that are excellent at making art - in whatever form - but may not be good at working with vulnerable individuals or excluded communities. They exist in Liverpool so I’m sure they exist in Rotterdam and other cities. Making all arts organisations work with communities is not always appropriate and can be dangerous.
I realised I must be getting close to the end of the sabbatical... There were reminders of Liverpool and Hope Street around the city, not least the exact same font that the hotel I stayed in used for its logo as the font that Hope Street uses. Uncanny. (I've also returned to writing detailed reports... Sorry Alan).
* I asked numerous people why the country is called the Netherlands and Holland. I was given satisfactory explanations, which I won’t go into - check it out for yourselves). But an unanswered question is: If the English speak English, the Germans speak German, the Italians speak Italian (and so on), how is it that people from Holland/Netherlands speak Dutch? No-one could answer this.
A bit late and i don't know if you will read this, but for anyone who does... It's pretty simple why the people from Holland are called the Dutch and speak Dutch. It is mainly because the people in America met the dutch and hearing them speak they assumed it was German or to put it in German Deutsch... Deutsch became Dutch (it sounds very alike...). In America you also have the Pensylvanian Dutch, who where in fact Deutsch people (German people and not Dutch)...
Sounds reasonable right?
Ties Ten Bosch (Comment this)