The Role of Cultural Promotion As an Integral Component of Leipzig’s Urban Development

doi:10.4236/cus.2013.14009

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Current Urban Studies

2013. Vol.1, No.4, 87-91

Published Online December 2013 in SciRes (http://www.scirp.org/journal/cus) http://dx.doi.org/10.4236/cus.2013.14009

Open Access 87

The Role of Cultural Promotion As an Integral

Component of Leipzig’s Urban Development

Jean-Claude Garcia-Zamor

Public Administration, Florida International Univ e r sity, University Park, USA

Email: [email protected]

Received May 23rd, 2013; revised July 1st, 2013; accepted July 15th, 2013

Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium,

provided the origina l w o rk is properly cited.

After the reunification in 1990, Leipzig—as well as other East German cities—had to face the challenges

of the new political-administrative system and an open global economy. Through the systematic imple-

mentation of its evolving urban development strategies, the city has developed positively in many areas.

After the German reunification, most of Leipzig’s districts lacked cultural leisure services that would have

been fit for all age groups and close to their homes. In the early 1990s, the establishment of such urgently

needed socio-cultural centers was initiated on the one hand by official authorities and on the other by the

citizens themselves. Many newly founded associations and initiatives strove hard to maintain the existing

or to develop new cultural activities. In order to implement the latter, they were not only interested in the

already established cultural sites, but particularly in former industrial structures or other buildings with a

rich historical background. The best project in this effort is the world-famous Spinnerei. These urban en-

vironments offered vast opportunities for artists, the independent scene, cultural workers and creative in-

dustries alike. A large number of Leipzig’s cultural institutions originated from civic engagement and

were then, in times of economic recovery, incorporated into municipal ownership. Nowadays, they are

threatened to be re-privatized as the city’s means of cultural funding are gradually reaching their limits.

But Leipzig planning officials still think that the promotion of cultural projects in the neighborhoods pro-

vides a climate where culture is respectfully seen as a precious opportunity for urban development.

Through an extensive and varied offer of cultural activities, otherwise marginalized citizens can be inte-

grated in social life and participate in democratic processes.

Keywords: Integrated Planning; SEKo 2020; Cultural Promotion

Urban Development since 2000: Upward

Trend after the Paradigm Shift

At the beginning of the 20th century, Leipzig was one of the

four largest cities in Germany with a prosperous and diverse

economic structure. Due to the centralized system and the in-

ternational isolation of the former GDR, the city’s population

and importance decreased. After the reunification in 1990,

Leipzig—as well as other East German cities—had to face the

challenges of the new political-administrative system and an

open global economy. In comparison to other East German

cities, Leipzig has very early recognized ways of acquiring

fundings from higher administrative levels. Additionally, thanks

to the local municipality reform of 1999/2000, the limit of

500,000 inhabitants was reached, so that the city was eligible to

higher sums of subsidies. Together with the resulting increased

tax revenues, this promoted a sustainable urban development.

Through the systematic implementation of its evolving urban

development strategies, the city has developed positively in

many areas. Nowadays, the Saxon metropolis is a center of

economic, social and cultural life. Because of massive tax in-

centives, “global players” like BMW, Porsche, DHL and Ama-

zon settled in Leipzig in the early 2000s. An essential basis for

this positive trend of the recent years was Leipzig’s sophisti-

cated infrastructural system. In 2003, the “City Tunnel” as the

most important transportation project of the coming years was

initiated.

The newly designed public spaces and the broad range of

educational, recreational and sports facilities have helped to

improve living conditions in the city. The overall appearance of

Leipzig has drastically improved due to various developments

such as the reduced environmental pollution, the renovation of

entire streets and the flooding of the former mining areas. Fur-

thermore, other factors such as culture and education are con-

tributing to the quality of life in the city. Cultural diversity is an

important pillar of Leipzig as a “city of citizens”. Subcultural

phenomena and institutionally funded cultural activities have

multiplied recently. The functional concept of culture is closely

linked to those of economy, education and social affairs. Since

all of these sectors are strongly interdependent, it seems only

consequential to organize and plan them in an integrative man-

ner. Therefore, a paradigm shift in Leipzig’s urban development

planning strategies could be observed around the turn of the

millennium. Until then, it used to strictly separate the different

departments and focused on isolated projects one at a time. The

excess capacities caused by shrinkage processes—vacant prop-

erties, underutilized infrastructures and unoccupied buildings of

various kinds—can only be used for urban development proc-

esses through integrated planning. That is why today, depart-

J.-C. GARCIA-ZAMOR

ments like economics, infrastructure or cultural development

are viewed in their common context. The different institutions

and players that are involved in urban development planning

processes have to communicate and to cooperate.

This integrated planning approach as it is manifested in the

Leipziger Stadtentwicklungskonzept 2020 (SEKo 2020) will be

discussed in the next section. Then cultural promotion will be

described as a possible way of developing urban areas. Fur-

thermore, the development of Leipzig’s cultural scene over the

past 20 years will be outlined. What role does “culture”, or

more precisely “social culture”, play in the thematic framework

of urban development? To what extent could it be “used” for

the latter and how can it be funded in practice? To pursue these

questions, my research assistant interviewed the district man-

ager of Leipziger Westen, Mrs. Peggy Diebler, who described

the implementation practices that were implemented in the

districts of Lindenau and Plagwitz.

Leipzig’s Urban Development Plan “SEKo

2020” as an Integrative Approach

Cross-linking different sectors, “SEKo 2020” provides a

binding framework that serves as a guideline for the develop-

ment of the city in the years to come. It is the basis for budget

planning and sets priorities for the future use of municipal

funds and grants by designating main topics and priority areas

of action. A key package of measures and specific implementa-

tion options was developed to reach the objectives defined by

SEKo 2020. The concept is a basis for goal-oriented cross-

departmental actions not only within the local urban develop-

ment authorities, but also for the cooperation with various

stakeholders outside the municipal administration. That kind of

inclusiveness is a required condition for any project applying

for funding to the Free State of Saxony. Another cross-depart-

mental funding option is the European Regional Development

Fund (ERDF). In contrast, other programs like the federally

funded Stadtumbau Ost (urban restructuring in East Germany)

are rather project-oriented. They are neither limited to certain

areas, nor do they require the cooperation of the applicants and

local actors. To be financed from federal or other funding pots,

projects must above all fulfill the requirement of sustainability.

Extensive discussions during the preparation of SEKo have

created new structures of communication and coordination

within the Leipzig city council. These need to be maintained

and even intensified in order to ensure an efficient implementa-

tion of SEKo. Among other things, this concerns the coopera-

tion with municipal subsidiaries, in particular the housing and

construction company in Leipzig (Leipziger Wohnungs-und

Baugesellschaft, LWB), the municipal waterworks (Kom-

munale Wasserwerke Leipzig, KWL) and the energy supplier

“Stadtwerke Leipzig” (SWL). Just as important is the interac-

tion with non-administrative players such as clubs, individuals

or local businesses.

The integrated urban development plan SEKo 2020 will

eventually be successful. Even if the objectives set for 2020

cannot be entirely reached by then, it is planned to further pur-

sue the concept. With regularly scheduled monitoring and eva-

luation, it will continue to evolve.

Cultural Promotion as a Component

of Urban Development

After the German reunification, most of Leipzig’s districts

lacked cultural leisure services that would have been fit for all

age groups and close to their homes. In the early 1990s, the

establishment of such urgently needed socio-cultural centers

was initiated on the one hand by official authorities (the mu-

nicipality and the Kulturamt) and on the other by the citizens

themselves. Six initially municipal buildings are now inde-

pendently operated. The city has not only subsidized this trans-

formation but is also responsible for the structural maintenance

of the houses. By the mid-90s, several socio-cultural centers

were privatized, but only a few of them retained their function

as cultural sites. Many newly founded associations and initia-

tives strove hard to maintain the existing or to develop new

(albeit sometimes only temporary) cultural activities. In order

to implement the latter, they were not only interested in the

already established cultural sites, but particularly in former

industrial structures or other buildings with a rich historical

background. These urban environments offered vast opportuni-

ties for artists, the independent scene, cultural workers and

creative industries alike. In that way, several districts—primar-

ily Plagwitz and Neulindenau—have developed a characteristic

neighborhood culture which is not at all defined by institutions

of the so called high culture (although they consume a large

portion of the city’s cultural budget). Instead, independent sub-

cultural phenomena are constitutive elements. By now, the larg-

est and best known of these probably is the “Baumwollspinne-

rei” complex at the western extremity of Karl-Heine-Straße.

Socio-cultural facilities like the “Mühlstraße e.V.” in Leip-

zig’s east are important focal points and drivers of cultural and

social life in the district. They boost active citizenship and play

an important role in the process of integration of marginalized

population groups into the social fabric. Certain negative ef-

fects of demographic change (such as loneliness in old age, to

name just one example) can be mitigated through them. The

municipal funding of socio-culture has to start, where both

deficits in the existing supply structure and potentials for future

development can be observed. If urgently needed, new facilities

with additional services can of course be created. Cultural pro-

motion, however, is primarily designed to stabilize the net-

works that are already in place. Hence, Leipzig’s culture is

shaped by the successful coexistence of private creative busi-

nesses as well as public institutions and the publicly funded

independent scene—the latter certainly suffering less from the

pressure of being economically efficient. That freedom gives

them the opportunity—but also the obligation—to work on an

elevated artistic level and to be highly innovative and experi-

mental at the same time. Nevertheless, socio-culture must—just

like the private sector—take into account the financial situation

of their respective target group. As a result of declining net

incomes in certain districts, as well as an increasing proportion

of mini- and midi-jobbers or recipients of welfare benefits, it is

necessary to adapt concepts and projects in order to meet the

changed demands of the stakeholders and to actively prevent a

loss in revenues.

A large number of Leipzig’s cultural institutions originated

from civic engagement and were then, in times of economic

recovery, incorporated into municipal ownership. Nowadays,

they are threatened to be re-privatized as the city’s means of

cultural funding are gradually reach their limits. Given the cur-

rent economic situation, the preservation of cultural networks is

far from being granted. It should be remembered, that Leipzig’s

diverse cultural landscape functions as a decisive advantage for

the city in a way that cultural funding is also an important in-

Open Access

J.-C. GA RCIA-ZAMO R

vestment in the development of the local economy.

Socio-Cultural Promotion and the Rise of the

Creative Economy in Leipzig’s Current Urban

Development Concept “SEKo 2020”

The city of Leipzig derives its basic objectives of cultural

promotion from the cultural development plan of the years

2008 to 2015. Urban cultural institutions continuously aim to

expand their offers for people of all ages and to develop new

ideas targeted to specific groups. Through increased networking

and cooperation among themselves as well as with third parties,

Leipzig’s cultural institutions seek to use their potentials in a

more efficient way in order to reinforce the city’s regional,

national and international impact. Due to urban demographic

changes, socio-spatial differentiations will be necessary in ad-

dition to the spatial focuses SEKo 2020 calls for. Educating the

social and cultural skills of the population is a possible way of

countering the downward spiral in which some districts are

stuck. The overall aims are to strengthen socio-culture as a

“resonating space” for the formation of public opinion and to

contribute to lifelong learning. For this purpose, socially inclu-

sive, inter-generational and multicultural approaches are pur-

sued. Their potentials range from the development of new

forms of communication to the implementation of model pro-

jects and the establishment of efficient networks. Moreover,

socio-culture may very well provide impulses for the artistic

cultural scene. Creative industries grow best in cities which,

like Leipzig, emanate an omnipresent historical aura and have

countless unique features. A generally culture-positive atmos-

phere, an adequate supply of reasonably priced premises and a

sufficient number of cultural institutions and events are vital

conditions for a prospering socio-culture and successful crea-

tive industries. As these preserve and even help creating new

jobs—which represents a major goal of the general SEKo 2020

policy—they support future economic growth and thus ulti-

mately assist urban development.

Implementation Practices—Cultural Promotion

from the Perspective of Stakeholders

To gain insight into the practical implementation of urban

development strategies in a cultural context, we asked Mrs.

Peggy Diebler about her personal experiences as the district

manager of Plagwitz and Lindenau. The interview took place in

July 2011 and consisted of five questions that are summarized

in the following five sections.

Cultural Promotion and Its Role in the Work of the

District Manager of Plagwitz and Lindenau

The promotion of cultural projects in the neighborhood pro-

vides a climate, where culture is respectfully seen as a precious

opportunity for urban development. The management of the

districts Lindenau and Plagwitz is partly responsible for the

distribution of the Verfügunsfonds means. Therefore, they are

mainly looking for cooperation partners, such as the “IG Kultur

West” and the “Westbesuch e.V.”, who explicitly combine cul-

ture with urban development. In order to get financial support

from the available funds, it is not at all necessary to be a mem-

ber to one of these clubs, but more importantly to furnish crea-

tive ideas.

On multiple levels, arts and culture play into the work of the

district management. Mrs. Diebler differentiates three kinds of

cultural promotion that are currently being practiced in Leipzig.

First, she mentions the municipal funding of the city’s existing

facilities and institutions. Secondly, she names the subsidization

of services that are not in municipal sponsorship. This alloca-

tion of money by the department of culture (“Kulturamt”) to

specific projects is called Fachförderung. In addition to these

two funding methods, a third way of cultural promotion enables

“unofficial” cultural organizations and initiatives to apply for

funds from different programs and funds on a municipal, fed-

eral or even European level.

According to Mrs. Diebler, culture is heavily linked to the

economy, especially in the field of creative industries, where

profit-orientation and a “non-profit attitude” are closely inter-

twined.

The Public Perception of Cultural Diversity in

Plagwitz and Lindenau

The districts’ basic cultural institutions—such as the Musi-

kalische Komödie or the Theater der jungen Welt—are in mu-

nicipal hands. Well-known cultural sites like the Felsenkeller or

the Schaubühne Lindenfels date back to the 1920s and thus

represent constitutive elements of the neighborhood’s history

which always had a vivid culture of entertainment. This is as

true today—plenty of people come here especially because of

the districts’ renowned cultural scene. The public perception of

Plagwitz as a “hip art district” is also strongly related to the fact,

that the studios of artists with a worldwide reputation (like Neo

Rauch, for instance) are located there. Plagwitz and Lindenau

are thus a magnet for those who are interested in the fine arts

but also for people who intent to express themselves culturally.

Since the vacancy rate is still at a fairly high level, the rents are

still relatively inexpensive which makes the districts easily

accessible even for people with limited financial resources.

Moreover, Leipzig West is considered as the cradle of the

Wächterhäuser movement that makes decaying houses avail-

able to people who are willing (and able) to renovate and main-

tain these architectural structures. Against a very small fee,

these “guardians of the historical buildings” can freely realize

their own projects. Additionally, many former industrial sites

with large rooms and halls that can easily be adapted to new

utilization concepts are still vacant. The Baumwollspinnerei

with its large number of studios, event spaces, residences and

commercial premises was one of the first cultural pioneers to

make use of these potentials. Other important meeting points

for the cultural scene and creative industries are the Tapeten-

werk, the Westwerk or the Alte Handelsschule in Kleinzscho-

cher. The Karl-Heine-Straße, Zschochersche Straße, Linde-

nauer Markt or Georg-Schwarz-Straße are actually agglomera-

tions of numerous individual centers of culture. Many of their

former retail spaces have been transformed into galleries, bars

or various project spaces. Associations like the Westbesuch e.V.

with their cultural activities around the Karl-Heine-Straße have

had a decisive impact on the development of the neighborhood.

People began to rethink the objectives and conditions of socio-

cultural work: Although cultural initiatives coming from out-

side the respective districts were openly accepted, serious ef-

forts were made to stimulate the locals’ participation in cultural

activities. Plenty of occasions such as the Westpaket, the West-

besuch, the Lindenauer Nacht or various other festivals give the

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J.-C. GARCIA-ZAMOR

residents abundant opportunities of creatively working together.

This has led to a positive climate of cooperation or at least of

peaceful coexistence, even though according to Mrs. Diebler,

smaller frictions sometimes are inevitable.

A Short Description of Cultural Promotion in the

Districts Supervised by Mrs. Diebler

Culture is promoted by several different sources that are

working entirely independently. For instance, the Kulturstiftung

des Freistaates Sachsen is not subsidized by the city of Leipzig.

Areas of intensified intervention have been defined by a com-

prehensive strategy for urban development. The west of Leipzig

is considered separately since 1999, when several “lighthouse”

sites were promoted in the course of the world fair “Expo

2000”. Subsequently, the European funding program “Urban II”

distributed the available means to a greater variety of small

projects. Since 2009, Leipzig West is mainly funded by that

program. Altogether, these European subsidies positively ac-

celerated the local development of Plagwitz and Lindenau. The

various small associations and initiatives were able to profes-

sionalize a part of their work. The experiment “Urban II” has

impressively shown the benefits of discussing the distribution

of funds within a large group of stakeholders. Officials and

employees of local businesses as well as civil representatives

and members of non-profit organizations participated in the

negotiations. This kind of open dialogue is still practiced at

present. However, this democratic and integrated approach to

cultural funding is still in its infancy. Stakeholders reportedly

still tend to strictly separate such fields as music, theater or the

fine arts instead of perceiving them as highly interdependent.

Mrs. Diebler is optimistic, that all of these facets of cultural life

will converge over the course of future debates on urban de-

velopment.

Difficulties and Possible Improvements in the Work

of a District Manager

It would be desirable that Leipzig generally decides much

earlier about the city’s annual budget planning. Only in this way,

cultural organizations and initiatives can be guaranteed safety

for the realization of their projects.

Because numerous official authorities are involved in the or-

ganization of cultural events, it would really help to have an

expert who could be contacted whenever questions arise in the

bureaucratic jungle. This kind of position has already been

applied for to the “creative cities” program a long time ago but

still hasn’t been put into action.

Mrs. Diebler is hoping, that people keep up the good work

and hold on to their great enthusiasm, even after the subsidies

of the European Regional Development Fund expired.

Mrs. Diebler’s View on and Wishes for the Future

of Certain Cultural Projects

When it comes to the development chances of certain areas,

Mrs. Diebler attributes prominent long term effects to the recent

developments around Lindenauer Markt and Georg-Schwarz-

Straße, as well as to privately funded projects such as the

Baumwollspinnerei, the Tapetenwerk, the Westwerk and the Alte

Handelsschule in Kleinzschocher. In these locations, the stake-

holders involved in socio-culture and creative industries show a

remarkably enthusiastic commitment to their work. Mrs. Die-

bler therefore calls them “charitable”, even though the projects

in question partly are profit-oriented economic institutions.

Another very big opportunity is located on the Karl-Heine-

Straße, where as a result of the cooperation between the Schau-

bühne Lindenfels and the more recently opened Lindenfels-

Westflügel an important center for the art of puppet theater

(Figurentheater) is about to emerge.

If the current negotiations between Deutsche Bahn and the

municipal authorities are successful, the city could purchase the

very large area around the Plagwitzer Bahnhof and turn it into a

park or forest. As a result, even more people, associations or

companies will be attracted to the surrounding neighborhoods,

because a large open space like this will entice people to use it

in multiple different ways. In the first rounds of public hearings,

residents, professionals, architects, designers and artists already

have enthusiastically attended to the meetings.

For the cultural revival of Leipzig’s west in the long term, it

is important that people who are actively taking part in certain

projects keep on doing so. Till now, most of the protagonists

who are working for associations and initiatives are people who

are studying or have spare time for other reasons, e.g. because

they are stay-at-home parents. When these people enter or re-

enter their professional career, they will have significantly less

time available for their former hobbies. The situation in their

respective clubs may then take a drastic turn for the worse,

explains Mrs. Diebler. That is why she thinks that the biggest

potential lays within projects that are carried out by stake-

holders who can connect and harmonize their cultural commit-

ment with their professional caree r.

Conclusions and Outlook

A well-functioning cultural promotion may in multiple ways

have a positive influence on the development of neighborhoods.

It might put a stop to the downward spiral in which several of

Leipzig’s districts are trapped at the moment. Through an ex-

tensive and varied offer of cultural activities, otherwise margin-

alized citizens can be integrated in social life and participate in

democratic processes. Moreover, the livability and the outward

image of the neighborhood can be improved. In the near future,

cultural funding will probably play an even more important role

in the context of urban development. The relatively young con-

cept of integrative plan for urban development will probably be

a long work in progress in the course of which municipal au-

thorities and external actors must certainly work together more

closely. Old ways of thinking in a closed system must be re-

placed by open-mindedness. A diverse cultural scene cannot

survive without the voluntary work of the citizens.

Hope for the future of Leipzig’s independent cultural scene

was instilled by a recent decision of the city council. On July 18,

2012 the never implemented policy (dating back to 2008) to

allocate five percent of the city’s cultural budget to the inde-

pendent scene was finally activated. Although the level of the

original funding is far from being reached today, the subsidies

transferred next year will exceed those of 2012 by 600.000€

(US$780,000). In the following two years there ought to be an

annual increase of 320.000€ (US$415,000) each year. If this

time, the municipal authorities keep their promises, this would

definitely be a great success for the independent cultural scene.

The five percent that were originally promised for 2013 will

then finally be disbursed in 2015. In the long run, they are

needed to implement more projects and create new jobs.

Open Access

J.-C. GA RCIA-ZAMO R

Open Access 91

Author Biography

The author is a professor of Public Administration at Florida

International University. From 1999 to 2007 he was doing

research and teaching at Leipzig University every summer. In

June 2007, he was designated an Honorarprofessor of that

university. He returned to Leipzig University in May 2013 for

his fiftheen consecutive summers there.

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