Ariane Bieou, basically architect, is currently an independent cultural expert everywhere: heritage is a stage, city is a playground,, artists are the key-players, citizens are the protagonists, co-creation is the rule-process, future is the next level. She was the Cultural Manager of Matera 2019 - European Capital of Culture, the Head of project Millénaire Caen 2025, has coordinated IN SITU, the European Network for artistic creation in public space and has created site-specific events for UNESCO World Heritage sites.

After 40 years, does the European Capital of Culture program still have a future?
Absolutely. The European Capitals of Culture (ECoC) program has demonstrated its resilience and relevance over the past four decades. Its history and evolution show that it continues to hold the same appeal and prestige, and it can sustain its significant impact well into the future. As Europe continues to evolve, the program remains vital in addressing new social and intercultural concerns, where collective and creative solutions are key.

With a long list of Capitals and major cities throughout Europe already participating, the focus is now naturally shifting towards medium and smaller cities. By including their surroundings, these areas are encountering new challenges and opportunities. Whether urban or rural, these territories often have unique cultural assets and community dynamics that can provide innovative solutions to contemporary issues. Beyond its core values of diversity and inclusivity, the ECoC program should also emphasize sustainability and scalability, promoting solutions that can be adapted from local to broader levels.

By continually adapting to contemporary challenges and integrating new cultural dynamics, the ECoC program drives long-term regeneration across Europe. “For and with the people”.

Is there a need to change the rules of the European Capitals of Culture competition after 2033, and what needs to be improved?
There is always room for improvement, and revisiting the rules post-2033 could help address emerging cultural and societal trends. Enhancing the selection criteria to place more emphasis on sustainability, digital innovation, and community engagement would be beneficial. Additionally, providing more support for smaller cities to bid and ensuring a more equitable distribution of resources can help diversify and enrich the cultural landscape of the ECoC program.

The ECoC title is the result of a high-level competition. All candidate cities are generating excellent projects. So, it's essential to recognize the value of all shortlisted cities, not just the winners. At least at a national level, as seen with the Italian government's initiative to greet cities with a price and to create Italian Capitals of Culture. At both national and European levels, preparing for both success and alternative outcomes during the bidding phase would help capitalize on the efforts made regardless of the selection result. The European Commission should take a more active role, not just as a guide and regulator but also as a consistent funder, acting as a key stakeholder to ensure the EU dimension of the program and providing steady governance. This would help to meet the inevitable high expectations and to maintain meaning, consistency, quality, and continuity throughout the ECoC journey.

Regarding the competition period, the implementation, and the delivery phases of the ECoC program, I believe the legacy phase should have more dedicated time and its own program with EU guidance. We must pay greater attention to the human as a resource. Emphasizing the concept of "Capitalizing the Capitals”, it's crucial to focus on human capital as well, which is one of the true treasures of the program. By investing in people, their skills, and their capacity to act proactively, the legacy of the ECoC can be sustained, continuing to benefit cities long after their year in the spotlight. For example, five years later, the Matera 2019 method has proven itself by establishing a fruitful and virtuous “co-creation system”.

In addition to the European dimension and the relationship between cities and citizens, what should the cultural programs of the European Capitals of Culture focus on?
Culture and the arts have the ability to be cross-sectoral and pioneering, aligning with societal trends. The ECoC program should capitalize on this by integrating cultural initiatives with other sectors, such as the environment, education, health, science, and urban development, to create innovative and multifaceted projects. This cross-sectoral approach can drive societal change and address contemporary issues for the best.

Additionally, the core capacity of ECoC to experiment with new ideas and share widely the results of their experiences contributes to shaping a collective pool of knowledge that other cities can draw from. This continuous experimentation and knowledge-sharing will help sustain the program's relevance and drive cultural innovation across Europe.

Attention should also be given to the "after-glow effect" of ECoC events, ensuring that the benefits and impacts of the cultural programs extend beyond the designated year. This includes taking care of the “human legacy” by investing in local talents and international partnerships, by supporting EU mobility and fostering ongoing cultural engagement within the community.

Many nations have invented national cities of culture. Isn't there a risk of overlapping with the ECoC?
Rather than overlap, I believe that national cities of culture can complement the ECoC by creating a broader cultural landscape. These national programs can serve as stepping stones for cities to eventually bid for the ECoC title, providing them with valuable experience and visibility. Coordinating efforts and aligning objectives between national and European programs can ensure synergy rather than competition, ultimately enriching the cultural fabric of Europe.

Still, we must be aware that the ECoC is not just a simple cultural program. Working at a European scale is far more daring and highly challenging! It requires a European vision, expertise in several fields, and significant preparation, often over a decade, which consequently provokes more profound changes within the host cities. Whether a city wins the ECoC title or not, this long-term preparation fosters deep-rooted transformations and sustainable cultural growth.

What impact do major events have on cities today?
Major events feature the “extraordinary”. For that reason, they have a significant impact on cities and territories today, ranging from economic benefits to social and cultural advancements. They act with strong spill-over effects to boost tourism, create jobs, and drive infrastructural development. Most importantly, we know that such events can enhance a city's global profile, foster community pride, and stimulate cultural engagement.

However, it is crucial to manage these events sustainably to avoid negative repercussions. Sustainability is the key consideration. Cities and event organizers must address sustainability issues to ensure that the positive effects of major events are not overshadowed by negative consequences like a high carbon footprint or overtourism.

By seeking innovative event formats and focusing on sustainable practices, they can create lasting positive changes that benefit both the environment and the community through real “placemaking”. Cities should then aim to capitalize on these benefits as they can drive social and territorial regeneration, revitalizing marginalized areas and fostering a sense of community. Overall, when managed well, major events can lead to profound and lasting improvements in the social, economic, and cultural landscape of cities.

The European Commission, from our point of view, is quite weak on the communication front of the European Capitals of Culture. What could it do to disseminate the program among European citizens?
While the ECoC program naturally garners attention as every year two to three cities from different EU countries are highlighted, this organic reach could be significantly amplified. The strength of the ECoC lies in its ability to spotlight diverse cities, inherently attracting a wide audience across the EU and globally.

However, to maximize this potential, the European Commission could enhance its communication strategy by widely promoting all the rich history, to "Echo the ECoC” program. There is so much to share! The 40th anniversary in 2025 could be the right opportunity to tell this European story and to establish a more formal ECoC network with coordinated communication.

Furthermore, enhancing the communication criteria for future ECoC rules could ensure more consistent and widespread promotion. By fostering collaboration with EU-wide media outlets and leveraging cross-country communication networks, the program can achieve a more robust and coherent presence. This comprehensive approach to communication will not only increase visibility but also deepen the awareness and the engagement of European citizens with the cultural richness and diversity of the ECoC program.

As an expert, what suggestions would you give to the European Commission regarding the ECoC program and the Creative Europe program in general?
Both programs contribute to building and highlighting European shared values and cultural excellence at European and international levels. Relying on connections with Creative Europe programs, fostering the EU Platforms, Networks, and Cooperation projects can streamline efforts and ensure more effective outcomes. Structured at the EU level, shared best practices and successful innovations should be at the core, enabling cities to adopt proven strategies and avoid common pitfalls.

ECoC are also the perfect stage to give visibility to the Creative Europe program's outcomes. Moreover, the European Commission should communicate more effectively about the cultural and EU added values of these programs, highlighting their impact on both local and international levels. This comprehensive approach will ensure that ECoC and Creative Europe programs continue to thrive and contribute significantly to Europe’s cultural development.

Scouting emerging artists with a European vision, multilingual capabilities, and a global perspective can drive cultural innovation. Vice versa, this approach also means fostering local talents who can contribute to the broader European cultural landscape. Increased European funding specifically for ECoC projects would support these goals. “What can ECoC give to Europe, and what can Europe give to ECoC?” is the question.

I would then suggest enhancing cross-program synergies to ensure that initiatives under ECoC and Creative Europe mutually reinforce each other. The same, we should bridge ECoC and Creative Europe programme with the New European Bauhaus or the S+T+ARTS projects as well as some of the Horizon EU ones. This could boost a real cross-sectorial approach and generate integrated funding streams for projects that align with both programs' goals. It is crucial to promote initiatives and innovative projects that can serve to build the best practice models.

Returning to the communication issue, we could establish a common platform for knowledge and experience sharing among participating cities and EU projects, further enhancing collaboration and cultural development across Europe.