The idea behind the European Capital of Culture (ECOC)
At the time the European Union was created its founding fathers did not regard culture as a tried and tested means for European integration. Neither the treaties of the European Community for Coal and Steel (ECCS, 1951) nor the European Economic Community (EEC, 1957) made any reference to culture as such. When, however, the ECCS and the EEC amalgamated to become the European Community (EC) in 1967, the EC Treaty adopted a very narrow definition of culture and regarded the promotion of culture as being significant only if "it did not affect the trading and competitive conditions in the Community to such an extent that it damaged common interests".
Rethinking with regard to culture in the EC/EU required a long process of various small steps. In 1973 the EC Commission set up an office for cultural questions. The Treaty of Maastricht (1992) contained an article on culture for the very first time, and this was further built upon five years later. Thus it may be said that the EC discovered culture for itself, although culture had often only been regarded as an economic location factor. That said, the EU president José Manuel Barroso declared in 2004 that "culture comes before economy." In May 2007 the Commission decided on a European cultural agenda in the context of globalisation. The main aims of the agenda are to promote cultural diversity and intercultural dialogue, to promote culture as a catalyst for creativity, and to promote culture as an essential feature of international relationships within the European Union. These aims coincide with the results of a survey of EU citizens from 27 member states taken in spring 2007. 88% of those questioned regard cultural exchange as important, and want the EU to promote intercultural dialogue. 76% regard cultural diversity as a central feature of Europe and believe that it gives more weight to European culture. One of the main reasons for the development of a European cultural consciousness amongst EU citizens was the European Capital of Culture title.
The idea that Europe must have a Capital of Culture every year was put forward in the 1980s, most prominently by the extremely popular Greek Minister of Culture, Melina Mercouri. Along with her well-known French colleague, Jack Lang, she wanted to create a higher status for culture in Europe Ms Mercouri regarded the Capital of Culture as a new way for Europe to present and discover its own identity. At first her idea was greeted with mild scepticism by European officials but, thanks to her persistence, she won through. What began in 1985 with a budget of only 7.700.000 € in Athens, the first European Capital of Culture, has now become a highly successful model of European self-assurance.´
When we look back we see that, in order to put the title on a firm footing, it was at first awarded to classical European cultural centres like Athens, Paris , Florence and Berlin , but that the concept changed radically when Glasgow was awarded the title in 1990. Here the Capital of Culture year fundamentally transformed the image of the city and the self-confidence of its residents on a long-term basis. The structures created there still show their effects today. "Second" cities like Lille and Rotterdam have taken up this vision, at times with great success.
The expansion of the European Union has once again changed the concept of the European Capital of Culture. The failure of the European constitution and the problems this has thrown up show that politics alone is no longer able to communicate the idea of Europe. This is why culture has moved into the centre of interest. Here, it is hoped to be able to present and offer exemplary models which can package the unifying visionary power of the "old Europe" in all its cultural diversity in a credible manner. Culture has become a central factor in identity. The new idea of the European Capital of Culture has immensely gained in importance. Since 2007 one town or city from the old member countries, and one from the new member countries have been nominated. Furthermore the European Commission has decided that the EU cultural borders should extend beyond its official political boundaries. Now cities like Stavanger, Istanbul and Kiev have been able to apply for the title of European Capital of Culture although they are no members of the European Union.
The nominated cities and regions are agreed that the basic idea behind a Capital of Culture should be sustainability. The title is no longer about producing an interesting and glittering programme of events throughout the year, a sort of non-stop European jamboree, but more about repositioning culture in an urban society, rethinking the role that the cultural powers of towns and regions can play in a common Europe, and what they have to offer Europe. A statement to this effect was published by all the nominated Capitals of Culture at a meeting in Essen in April 2007.
Seen in this larger context culture has become much more perceptible as a fundamental part of European self-identity. Every Capital of Culture year will therefore be a balancing act between presenting specifically local cultural features and opening up a European, even a global dialogue. Here the Capitals of Culture can learn a lot from one another. For this reason dialogue and discussions have become a fixed part of the international work.
The concept put forward by the applicant cities till 2019 is showing new tendencies once again - the ideas put forward by RUHR.2010 are being further developed. Themes like migration, the creative economy, communication and the environment are being addressed even more strongly and radically.