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belonging and pride, and advocate qualitative
changes in approaches to cultural development;
but it is well known that the budget for culture in
the EU is woefully deficient, therefore progress
in this direction is likely to be slow. Much work is
being done in the international arena on the
links between creativity and quality of life in
cities (Florida, 2003). There is seen to be an
inextricable relationship between economic
growth, creative clusters of people and busi-
nesses, science and new technologies. This
research is proving interesting for European
cities in the throes of regeneration, but the
connections to heritage arguably need to be
maintained if cultural development is to be
protected from too much instrumentalism and
homogenization.
In the modern world system, Wallerstein
(2000) suggests that it is necessary to redefine
who are 'we' and who are the 'others' both in
our thoughts and in our politics. In recent times,
the apparent conflicts between 'East' and 'West'
have been taking place
within
as much as
between societies. No longer can we reduce
conflict management to a simple dialogue
between political entities, trading blocs or geo-
graphical regions. It is much more subtle and
complex, particularly in multi-cultural, multi-
faith European societies, where extensive work
is being done in both political and cultural arenas
(particularly the arts) to promote cultural diver-
sity, integration and social inclusion. Tourism
also plays a key role therein, especially in some
of the newer developments that focus on ethnic
quarters or festivals. New mobilities, especially
following the widening of the EU, are creating
new relationships and negotiations within even
more culturally diverse societies.
Education is a key issue for cultural under-
standing, along with mobility and cross-cultural
exchange. The encouragement of multi-
lingualism is important but sadly declining in
some of the less EU-orientated countries (e.g.
Britain). The way that the culture and history
of Europe is taught in schools and universities is
of paramount importance to the fostering of
understanding and tolerance. This has tradition-
ally been somewhat hegemonic and archaic,
especially when confined by national boun-
daries. The 20th century in Europe was one
of the most collectively tragic and violent in
modern history, so there is much to come to
terms with, to interpret and to integrate into
touristic development. Much has been written
about the Nazi Holocaust and its legacy, which
is commonly viewed as being almost beyond
interpretation because of its enormity. Similar
emotive (albeit smaller) debates are currently
ensuing about the interpretation and represen-
tation of socialist or communist heritage and its
legacy. Displaced symbols litter the landscape in
the form of architecture or statues. Should they
be removed or simply converted? Museums and
galleries often have to rethink the presentation
of their collections, and it is not uncommon for
them to remain closed temporarily whilst cura-
tors consider reinterpretation. Who and what
are heritage sites, museums and galleries for?
Are they simply there as memorials or remind-
ers of the past so that we can learn from them in
the future, as sites of 'truth' and reconciliation?
Or are they vehicles through which 'new' socie-
ties can explore and display their contemporary
European, national or regional identities? Of
course, one might argue that both approaches
are necessary and complementary. As an over-
simplification, heritage can feed one need
(coming to terms with the past in the present
and learning from it), and the arts can provide
the means of celebrating contemporary cultures
and creativity.
In the past, heritage and conservation
tended to receive a larger slice of the budget in
many EU countries, but there has been a
noticeable shift in recent years towards sup-
porting the cultural and creative industries,
especially those involving young people and
new technologies. However, there conse-
quently appears to be a more instrumental
approach to cultural development in many
European countries, whereby it is used as a
tool for something else rather than being
valued for its intrinsic qualities (e.g. economic
growth, regeneration, tourism development).
Whilst this is perhaps inevitable given public
funding restrictions and private business
imperatives, care should be taken that societies
and communities do not feel disinherited from
their past or their contemporary modes of
expression. Citizenship is as much about human
rights as anything else, thus EU policy needs to
focus on issues of ownership and empower-
ment in its cultural and tourism development
strategies.
This
is
particularly
important
in
