A

WORLD
C I T I E S
CULTURE
REPORT
MAYOR OF LONDON
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World Cities Culture Report 2012
Contents
Mayors foreword 5
Executive summary 7
Introduction 17
World cities and culture
The world is not at 21
What is culture? 22
How world cities shape culture 25
Cultural strategies for world cities 28
Challenges and responses 29
What the data tells us
The cities in the report 31
About the data 32
Where next for the research? 35
Cultural heritage 36
Literary culture 41
Film and games 44
Performing arts 47
People and talent 51
Cultural vitality and diversity 53
In summary 57
City portraits
Istanbul 61
Johannesburg-Gauteng 65
London 69
Mumbai 73
New York 77
Paris 81
Shanghai 85
Sydney 89
Tokyo 93
Appendix 1: Choice of world cities 96
Appendix 2: Data tables 99
Appendix 3: Shanghai Symposium 141
Appendix 4: List of policy questions 144
Credits 147
Data tables
Figure 1. City denitions 31
Figure 2. Cultural heritage 36
Figure 3. Literary culture 42
Figure 4. Film and games 42
Figure 5. Performing arts 48
Figure 6. People and talent 48
Figure 7. Cultural vitality and diversity 54
Figure 8. Choice of world cities 97
5 4
Mayors foreword
I am thrilled to be launching the World Cities Culture
Report 2012 the most comprehensive report of
its kind yet produced. Berlin, Istanbul, Johannesburg,
London, Mumbai, New York, Paris, So Paulo,
Shanghai, Singapore, Sydney and Tokyo have come
together in an unprecedented global collaboration
to examine the character and importance of culture
in world cities.
It builds on the hugely successful 2008 report,
London: A Cultural Audit, which looked at ve of
these cities. That report was translated into several
languages and helped shape Londons Cultural
Strategy. The World Cities Culture Report 2012 is
even more ambitious. This time we wanted to extend
the number of cities involved, and adopt a much more
collaborative approach, providing opportunities for
international policy exchange and debate. Therefore,
in autumn 2011, I invited some of the worlds greatest
cities to join this initiative.
Why, though, are we so interested in cultures role
in world cities? The report argues that the dynamism,
scale and diversity of our cities make us central hubs
in global culture. We are able to support a range and
depth of cultural activity that other cities cannot
match, which means in turn that we, more than other
places, are able to harness the power of culture to
contribute to wider social and economic goals.
Through this project, we have discovered that
our cities have more in common than we might
have thought. This report makes clear that we
recognise how important culture is to our success
culture is what makes each of us unique and gives
us our distinct avour. Culture is also central to
how we address future challenges whether its
the role of the creative industries in driving jobs and
growth in London or Paris, or bridging communities
in Johannesburg or Shanghai, or maintaining the
international reputation of New York.
The report was launched at a summit in London
held at the same time as the 2012 Olympic and
Paralympic Games. This was entirely deliberate.
It has been London's privilege to host the Games
and alongside the world class sport, we have staged
the biggest cultural festival the capital has ever
seen. This report is one expression of our belief
in the value of culture.
I hope that out of the summit a new World Cities
Culture Forum will be born. A place where cities can
come together on a regular basis to share insights with
one another and nd new ways to work more closely
together a tting legacy for the London Games.
Id like to thank all of the cities for their co-operation
and participation in the process. Thanks are also due
to the London Cultural Strategy Group for generously
supporting the project, and to BOP Consulting,
the project co-ordinators, for drawing together such
a compelling picture about the importance of culture
in our cities.
I commend the report, and I am sure it will receive
the success it deserves.
Thank you,
The Olympic Rings on Londons River Thames at Tower Bridge Photo: Kois Miah
7 6
Executive summary
World Cities Culture Report 2012 cities:
Berlin, Istanbul, Johannesburg, London, Mumbai,
New York, Paris, So Paulo, Shanghai, Singapore,
Sydney and Tokyo
The World Cities Culture Report 2012 is a major global
initiative on culture and the future of cities, set up
by the Mayor of London. It is a celebration of world
cities as crucibles of human creativity and endeavour.
From ancient Athens, Renaissance Florence and
Elizabethan London to modern New Yorks Broadway
or Mumbais Bollywood, cities have been the places
where culture develops and moves forward.
This report examines the cultural ofer of
12 of the worlds greatest cities. It gathers evidence
on 60 cultural indicators, assessing both the supply
of and demand for culture, and reports on the
thinking of cultural policymakers in those places.
The level of detail of the cultural data collected
across the cities is unprecedented, and represents
the primary achievement of this research.
However, what makes the project even more
valuable is its exploration of attitudes to cultural
policy making in the world cities. The potential for
culture to contribute to economic and social develop-
ment is understood by all the cities, but it plays out in
diferent ways depending on the particularities of each
place. Bringing an analysis of policymakers priorities
together with the data gives a much more rounded
picture of cultures role in, and value to, world cities.
The research is examined in more depth over
the course of this report. There are, however,
a number of messages which emerge clearly.
World cities are as important in culture as they
are in nance or trade
World cities, by virtue of their scale, dynamism
and diversity, are the cities most able to support
the widest range of cultural activity. Their large
audiences (both residents and tourists) and strong
private business sectors (a source both of funding
for the arts and a market for creative goods) means
they are able to specialise in culture, supporting
the high xed costs of cultural infrastructure,
as well as the other sof infrastructure of
commissioning, distribution, management and
production. Their diversity allows them to sustain
a great variety of art forms, while their dynamism
their constantly changing populations and their
international connections make the world cities
hubs of new cultural ideas and knowledge, and
also great centres for hybridised art forms, created
when ideas are blended together. The reports ndings
make clear that the world cities play a crucial role
in global culture.
Soweto Theatre, Johannesburg Photo: Peter Hassall
8
Culture is at the heart of public policy
in world cities
Policymakers across the cities see culture as a central
part of delivering the priorities and strategies of
urban government. New York put it nicely, suggesting
that culture is the no. 2 strategy in all elds; there
will be a strategy to address a question directly,
but there is always a recognition that culture too
has a major role to play in support. In Johannesburg,
eforts to build social and community cohesion
in the wake of apartheid have been strengthened
by the development of a new heritage infrastructure
that tells the history of all South Africas peoples.
In the very diferent context of Shanghai, culture
is viewed as a source of cohesion in a city that
is changing incredibly quickly. In Tokyo meanwhile,
culture has been seen as an important response
to the challenges posed by the 2011 earthquake,
an event that has led to much soul-searching
in Japan about the countrys future direction.
Cultures role in supporting economic strategies
is also recognised in the cities. In London and
Paris the creative industries are seen as a potential
source of new jobs and growth at a time of economic
difculty. Cultural activity is also an important
tool in urban regeneration New York stresses
its importance in helping to revive run-down
neighbourhoods.
In a globalised world, culture gives world cities
a distinctive appeal
In the era of globalisation, world cities are
increasingly competing with each other, rather than
with other cities in their countries, for such things
as the headquarters of multinational rms, or the
right to host major international sporting and cultural
events. Cultural prowess and economic success are
increasingly seen as interlinked. Those cities with
historically strong cultural ofers, such as London,
New York and Paris, see culture as a vital part of
their economic strength. This is expressed in two ways.
Firstly, the commercial forms of culture the creative
industries make up a large and growing share of the
economies of large cities. Given the challenges facing
some other sectors of the economy, such as nance
or public services, the creative industries represent
a large source of employment, exports and tax revenue
that needs to be better understood by policymakers
in both the cultural and economic elds.
The second contribution of culture to urban
economies is, if anything, more fundamental.
Culture in all its diverse forms is central to what
makes a city appealing to educated people and hence
to the businesses which seek to employ them. In the
globalised knowledge economy, having a well-educated
workforce is the key to success, and such workers
demand stimulating, creative environments. It is clear
from partner cities responses that they are well aware
of cultures role in making their cities attractive to
talent. A rich and vibrant culture thus also becomes
an indirect source of economic success.
This is recognised by cities in emerging economies
as well from Shanghai to Istanbul to So Paulo there
is a belief that culture will help determine their citys
future economic success.
opposite: Shanghai Dancer Fangji, courtesy of Shanghai Theatre Academy
11
The launch of a World Cities Culture Forum
Bringing the cities together to discuss and share
ideas and experiences is an achievement in itself,
one that should lead to great mutual benets
for the participating cities. While each citys culture
is distinct, shaped by its own character Sydneys
relaxed, outdoors culture, for example, is heavily
inuenced by the citys climate and natural beauty;
Tokyos is moulded by a deep egalitarian streak
in Japanese society they nevertheless have much
knowledge and experience to share. Already there
is a commitment to develop a World Cities Culture
Forum, to provide a more permanent basis for
this work the cultural equivalent of the G20
for world cities. It aims to:
highlight the critical contribution of culture to
the economic and social success of world cities
build an evidence base about the many and
wide-ranging ways in which culture impacts
on a world city and its inhabitants
enable learning from each other by examining
common challenges and dilemmas and
comparing approaches to cultural investment
and development
dene a future cultural research agenda for
world cities.
A programme is being developed for the forum.
It is likely to include:
an online platform for sharing and disseminating
data, information and efective practice
(www.worldcitiescultureforum.com)
an annual conference/summit, hosted on a rotating
basis by member cities, focusing on a particular
theme
a World City Culture Report published every
three years as a compendium of data and efective
practice
an ongoing series of collaborative research and
policy events and publications.
The forum will be launched at the Mayoral Summit
in August during the London 2012 Olympic and
Paralympic Games by the partner cities but will be
open to other leading cities to join.
opposite: The ArcelorMittal Orbit, a unique fusion of art, architecture
and engineering, conceived by Anish Kapoor/Cecil Balmond and funded
by ArcelorMittal to provide an iconic new addition to Londons skyline
Photo: London Legacy Development Corporation
13 12 Chora Museum, Istanbul Photo: Tahsin Aydogmus, courtesy of Istanbul Directorate of Culture and Tourism
The cities
The report includes a series of portraits of nine cities.
These explore policy developments and issues in each.
There are three overarching challenges which face
many of them. One is the battle to balance modernity
and tradition, making sure that both are valued.
The second is maintaining a sense of the local and
specic in a globalised world, while the third is nding
ways to link cultural infrastructure and participation
developing audiences for artistic work. There are
also a number of more specic challenges facing
each city, as well as great opportunities.
Istanbul
Istanbul has a rich history and architecture, yet in
some respects is a very modern city its population
has surged in recent decades due to internal migration
(ofen from rural areas). The challenges facing the
city include boosting participation, especially among
rural migrants and in peripheral areas of the city;
and making the most of the citys cultural heritage
and tourist potential. The citys advantages include
its young, dynamic population, and its fast-growing
economy. Its policymakers are keen to position it
as both a city of culture and a world city.
Johannesburg-Gauteng
Johannesburg is still grappling with the legacy of
apartheid. It has developed a new cultural heritage
sector to tell South Africas story more honestly,
and is now turning towards the issues of increasing
participation and growing audiences.
Johannesburg has lots of possibilities open to
it it may become a diferent type of world cultural
city. The Nollywood model, pioneered by the
Nigerian lm industry, of inexpensive, mass-produced
cultural products aimed at local or Africa-wide
audiences may provide an example for Johannesburgs
creative industries. This may help the city to develop
a distinctively African cultural model to go along with
the Western one which has largely prevailed until now.
15 14
Tokyo
Tokyos uniqueness stems from its egalitarian
culture, with blurred boundaries between creators
and consumers, and between high and pop
culture. Although the city may not on the surface
appear particularly diverse, in reality it has many
diferent cultures, ofen associated with certain
neighbourhoods. Tokyo is strong in both cultural
infrastructure and participation.
The difculties that Japanese society has faced
in recent years its slow economic growth and,
especially, the afermath of the 2011 earthquake
and tsunami have led to a reappraisal of values,
and culture is increasingly seen as an important
part of Tokyos reinvention in response to these
challenges.
In summary
The report is the rst time that the richness of
the data has been brought together with such an
in-depth policy analysis. What it shows is that culture
is essential to a thriving world city. It is hoped that
this report will help to point towards ways of making
policy and strategy in this area more efective and
robust.
London
Londons position is strong in almost every category,
with a great stock of cultural infrastructure, and
high participation and attendance rates. However,
the UK nds itself in an increasingly tough economic
environment, with pressures on both public spending
and private consumption. There is an opportunity
for culture and the creative industries to make London
a more attractive place to live, work, invest in and
visit, so supporting growth more generally and helping
to rebalance the economy. Hosting the Olympic and
Paralympic Games this summer also provides a great
opportunity to achieve a long-term cultural legacy.
Mumbai
Mumbai is a poor but rapidly growing and
energetic city. Its current cultural ofer is weak in
a conventional sense there is a shortage of cultural
infrastructure, for instance but the huge success
of Bollywood shows what might be possible. Can
the city use Bollywood as a template on which to build
a successful creative sector? Are there other options
for building a cultural ofer, such as digital technology
(a major strength of Indias)?
New York
In New York, culture is seen as a visible demonstration
of the world-class status of the city. Its extremely
strong cultural ofer is reected throughout New York:
culture is a signature industry of the city found in
every borough. It is also regarded as a key to economic
success, helping to attract talented workers and
visitors from around the world. The city faces
budgetary pressures, but is determined to maintain
support for culture, especially through public/private
partnerships.
Paris
Paris is looking for ways to make its art de vivre
work for new generations of (multicultural) residents.
While proud of its cultural heritage, it is keen to avoid
Paris becoming an open-air museum, and is building
new facilities in peripheral districts and embracing
new fringe art forms in an efort to keep the citys
culture vibrant and modern. Paris is also emphasising
the economic value of creative industries to the
citys future.
Shanghai
Shanghai is the largest city in the worlds fastest-rising
power. It has a hugely ambitious, planning-led
approach to culture, building major new infrastructure
for both culture and creative industries with the aim
of becoming a major cultural city by 2020. For now,
though, participation rates in culture are lagging.
If Shanghai is to match its economic power
with equivalent cultural power, the city will have
to overcome a number of challenges. These include
a rapidly ageing population, a lack of diversity
the city has relatively few international students,
for instance and the need to further develop its
artistic talent base.
Sydney
Sydney is a mid-sized world city, which means that
in some elds it lacks the breadth of infrastructure
of some of its larger peers. It compensates for this
with a particularly rich informal culture festivals
for example are a great strength of Sydneys. The city
also draws on its climate and natural beauty to create
a relaxed, convivial, inclusive culture. It is trying to
widen this inclusivity by placing more emphasis on
Aboriginal and Torres Strait Islander culture.
17
Introduction
World cities are customarily thought of as nodes
in a global economic system: centres of nance and
trade and sources of political power. But world cities
are cultural powerhouses too. They excel across a
range of art forms, both formal and informal, and have
a variety and quality of facilities that smaller cities nd
difcult to match. They have large, diverse audiences
for culture and attract people from across the globe
who in turn bring their own cultures to add to the
citys mix.
Cultures intrinsic and social values have long
been recognised. However, in the last 30 years a new
view of culture has arisen. It is increasingly seen as
a driver of economic growth. A series of developments
among them the rise of the knowledge economy,
in which skills and creativity count for more than raw
materials; the growth of cultural and urban tourism;
the emergence of the creative industries paradigm;
the theories of Richard Florida, Charles Landry and
others, with their emphasis on the role of culture
in attracting businesses to cities; and the contribution
of the Guggenheim Museum to the regeneration
of Bilbao have led to a new focus on the value
of culture within urban development. This view
attributes a key role to culture in stimulating
long-term economic and social growth in cities
not so much through creating short-term economic
returns (though these may occur), but by shaping
a sense of place and social space that increases
the citys attractiveness to an educated workforce
and the businesses which seek to employ them.
This has been reected in another phenomenon
of the last couple of decades: city rankings. As part
of a wider debate about the economic competitiveness
of cities, most such measures have included at least
a nod to cultures role in city life in the comparisons
they make. However, these measures are ofen
simplistic and based on just a handful of indicators.
For example, Foreign Policy magazines Global
City Index originally used just ve to get its cultural
experience score in 2008. Nor are such rankings
intended to inform cultural policy, as they are not
underpinned by any understanding of the way culture
works in cities.
Cultures contribution to the economic and
social life of big cities is a topic worthy of much
more systematic examination. The World Cities
Culture Report 2012 has attempted to do just that
and provides an unparalleled level of detail. Culture
is multi-dimensional and multi-layered; no serious
analysis can reduce a citys culture to a single overall
score or ranking. Comparing cities culture is valuable
as it helps us understand more about their similarities
and diferences, their relative strengths and their
perceptions of cultures role in their citys life. For
this to be meaningful, it is necessary to look at a much
wider variety of data to get a sense of the broad range
of cultural activity. The World Cities Culture Report
2012 does this, examining some 60 measures. These
include both formal culture, which is dened as
activity taking place in permanent cultural venues
such as museums, theatres and galleries, and informal
culture, which takes place in other venues such as
pubs, clubs and restaurants or outdoors, such as
festivals. The report also looks at data on production,
consumption, and cultural infrastructure.
opposite: Exhibition Fondation Cartier, Paris
Photo: Carine Camors, courtesy of IAU Ile-de-France
18
The world cities in this report are very varied.
Some are in the developed world, some are in
emerging economies; some were imperial capitals,
some were founded by colonists; some are old,
some are young; some are national capitals, some
are not. They were chosen because they are all
cities which will help shape the direction of the world
over the coming decades, and they are all interested
in strengthening the role of culture.
More than 40 years ago Jane Jacobs celebrated
the diversity of urban neighbourhoods such as her
own Greenwich Village as places where individual
creativity could ourish in an atmosphere of tolerance.
Such places lie at the heart of world cities cultural
contribution. That does not mean, however, there
are no challenges. Sustainability is an issue, and
cultural richness is no guarantee against economic
or social decline. But in world cities, we really
are standing on the shoulders of giants. We have
inherited the cultures of the past and add to them
with the dynamism and ux of the present.
The report is structured in three main sections:
The role of culture in world cities
What the data tells us
City portraits
This is followed by an appendix giving full details
of the data indicators. Between them, these sections
provide an unparalleled level of detail on culture
in world cities.
opposite: Gigs launch, London 2012 Festival Photo: Martyn Rourke
21
World cities and culture
The world is not at
Popular accounts of globalisation assume that the
world is attening, becoming more homogenous,
as telecommunications, air travel and the continuing
spread of the English language make diferent places
appear supercially similar. The experience of landing
at a major airport to be greeted by a familiar set
of advertising billboards what the US novelist Don
DeLillo calls the Esperanto of jet-lag can lure us
into thinking that distance and distinctiveness have
been obliterated.
But the world is not at, nor is distance dead.
Recent United Nations (UN) reports have conrmed
that more than half of the worlds population lives
in urban areas, and that the urban share is growing
fast, particularly in the global South. Some people
come to cities reluctantly, driven by the age-old reason
that economic opportunities are greater there. Others
come, because as medieval Europeans noted, the city
makes you free, opening up greater possibilities than
those you have lef behind. Still others survey the
world, looking for new places to invest, to set up home,
and start businesses. Telecommunications, travel and
education appear to have entrenched the dominance
of the city in the world economy, not weakened it.
Yet cities remain diferent from one another and
from their rural hinterlands. Even world cities with
their supercial resemblances remain distinctive.
The reason why? Culture. What links world cities to
one another is trade, commerce and nance. What
makes them diferent from one another is culture.
While world cities are plugged into global circuits
of ideas and knowledge, it is their local culture (and
cultural producers) which transform these external
inuences into something unique.
This report focuses on 12 world cities that are
also commonly regarded as leaders in culture. To be
clear, the report is not saying these are necessarily the
worlds 12 most culturally important cities only one
city from each country has been included, for instance
nor is it a ranking. The purpose is not to say which
cities are currently top, even less is it to prescribe
what world cities should do in terms of culture.
Instead, it is to try and understand the role that
culture plays within the successful world city.
None of the cities featured here can be summed
up in a simple soundbite: there is no single festival
city, city of cinema or pop music metropolis. While
many other smaller cities seek to position themselves
by demonstrating their strength in a particular
domain (such as the cities brought together by the
United Nations Educational, Scientic and Cultural
Organisation (UNESCO)s creative cities network),
the world cities in the report contain much more
than that. All of them ofer music, lm and festivals;
all have concert halls and art galleries; and all have
vast and growing informal cultural scenes that interact
with, and renew, the culture of the city. For all the
talk about competition between cities, the distinctive
and diverse cultures of world cities are in some sense
complementary: New Yorks cultural richness is not
achieved at the expense of, say, Tokyos indeed,
they may feed of each other.
opposite: People celebrating Holi Festival, Mumbai
Courtesy of Abdul Shaban, Tata Institute of Social Sciences
23 22 Hagia Irene, Istanbul Courtesy of Istanbul Directorate of Culture and Tourism
What is culture?
The academic and critic Raymond Williams famously
noted that, Culture is one of the two or three
most complicated words in the English language.
It could be added that it is a complex subject
in whatever tongue one chooses, as the denition
contained in UNESCOs 2001 Universal Declaration
on Cultural Diversity illustrates:
Within this denition, it is possible to discern
the three distinct but interrelated usages of the
term identied by Williams: culture as aesthetic
forms and practices; culture as a way of life;
and culture as a resource for supporting human
development.
The report seeks to capture culture in this
multi-dimensional sense. But it is perhaps inevitable
that a statistical exercise such as this will better
represent the more tangible and material forms
of culture than the intangible ones.
Culture should be regarded as the set of distinctive
spiritual, material, intellectual and emotional features
of society or a social group, and that it encompasses,
in addition to art and literature, lifestyles, ways of living
together, value systems, traditions and beliefs.
UNESCO
25
How world cities shape culture
The 12 world cities are global cultural hubs not
because their share of cultural activities is growing
fastest indeed it may be faster in some smaller
cities or towns but because they can aford to
specialise in culture, providing the infrastructure
of commissioning, distribution, management and
other professional functions that enable these sectors
to get their products to market. There are three
elements which characterise culture in such cities.
Dynamism
World cities are dynamic, always changing; and
culture is the grit (and therefore, in time, the pearl)
in the oyster. Great cities are not an outcome but
a process, and are able to reinvent themselves. The
constant inux of new people brings new ideas and
talent to the world cities. This process of change is
central to world cities future. An ability to make new
connections between cities, between industries,
formal and informal culture, for prot and not for
prot activities is a key factor in their sustainability.
The challenge for cities is to understand the ever-
shifing nature of culture this produces, and to nurture
its success.
Culture also inuences non-cultural activities. For
example, design is the key to product diferentiation.
The way in which cultural content is now experienced
across a diverse range of technological platforms is
intertwined with cultural consumption goods and
services are marketed in terms of design, brands,
lifestyles, and experiences.
We dont believe you can ever say that there
is enough or too much culture.
New York
opposite: Halloween Parade, New York
Photo: Joe Buglewicz, courtesy of NYC Department of Cultural Afairs
27 26 Peri(pheral)scopes: looking-over to the over-looked, street art project, Sydney Photo: Sharon Hickey, courtesy of City of Sydney
Scale
The wider economy of culture is growing. The United
Nations Conference on Trade and Development
(UNCTAD) reported in its Creative Economy Report
2010 that cultural products and services are making
up an ever-greater share of the worlds trade and GDP,
and that their rate of growth is outstripping the rest
of the economy in a number of countries. Much of this
economy is concentrated in cities: in some of the cities
in this report, the cultural and creative sector is the
second or third largest economic sector.
Size matters because in cultural markets high
failure rates must be expected. Innovation requires
waste, experiment and tolerance of failure. This
is why audiences are crucial. The world cities provide
not just local audiences, but international ones, with
their high numbers of tourists and business visitors.
Crucially they also ofer a large student population
drawn locally and from overseas who provide
both a willing market for cheap, ofen experimental,
culture, and are creators of culture themselves.
Diversity
Diversity in this context refers to diversity of
audience, market and population, as well as diversity
of cultural oferings. It is reected in festivals and
celebrations, the largest of which in cities like So
Paulo, New York and Berlin attract the equivalent
of almost a third of the citys population, as well
as in foreign-language newspapers, books and lms.
For some cities, acknowledging the diversity
of their cities is a key cultural policy goal. London
celebrates its 300 and more language communities,
while Sydney, New York and Mumbai reect their
diversity in communal festivals.
Diversity is ofen displayed to its greatest extent
in informal culture, and all the world cities make great
play of these growing sectors that range from comedy
clubs and bars to pop-up galleries and street art. The
work of Chris Anderson suggested that rms could
make money by addressing the countless markets for
minority cultural tastes (the long tail theory). This
is equally true for cities, where the ability to survive
initially with just a small minority audience can give an
idea the breathing space it needs to allow it to grow
into a worldwide hit.
Sydneys unique larrikin spirit, culturally and linguistically
diverse community and spectacular natural beauty shapes
and complements its cultural life resulting in an unusually
inclusive, convivial and dynamic city.
Sydney
29 28
Challenges and responses
There are a large number of challenges facing the
12 cities, but many of them can be grouped under
three overarching themes. The rst is about striking
a balance between tradition and modernity. Some
cities international image is very much shaped
by their historic buildings and heritage, yet they
need to nd a way to make sure their contemporary
culture is recognised and vibrant a question Paris
is interested in. On the other hand, the international
images of, say, Tokyo and Shanghai tend to overlook
their historic quarters and buildings.
The second challenge is how to maintain a sense
of the local and specic in a rapidly globalising world.
As ideas and people move more and more freely
across borders, it may become hard to keep hold
of the distinctive elements of a citys culture.
How can this be done without becoming parochial
or protectionist?
The third challenge is how best to link
infrastructure and participation. In some of the most
rapidly growing cities, such as Shanghai and Istanbul,
there are signicant eforts being made to improve
the quality of the cultural infrastructure. Some in
particular, such as libraries, are potentially valuable
contributors to the future skills of urban populations.
However, to avoid cultural buildings being under-used,
a focus is needed on participation to ensure that
citizens can fully benet from the new facilities
being built for them.
The responses the world cities make to these
and related challenges vary according to their
circumstances. However, there are two strategic
principles which seem to guide their view of cultures
usefulness. The rst is to emphasise cultures role
as a force of renewal. This can refer to physical
regeneration, where old buildings are given new
cultural uses, or where culture helps revive previously
run-down neighbourhoods such strategies can
be seen in Paris, New York and London among
other places. But culture also ofers a chance for
spiritual or emotional regeneration. In Tokyo afer
the 2011 earthquake, New York afer 9/11, and
in Johannesburg afer the end of apartheid, culture
has played a role in bringing a city together again
and reviving its sense of purpose.
The second strategic principle shared by many
of the cities is to stress the importance of partnership
between the public and private sectors. In almost
all the cities, culture benets from a mixed economy,
where private and public elements reinforce each
other. A few examples help to illustrate this point:
many of New Yorks great cultural institutions such
as the Metropolitan Museum and MoMA are managed
privately but housed in buildings owned by the city.
In Istanbul, state funds support private theatres,
while in Tokyo public institutions ofen bring in private
sector managers to lead the organisations, bringing
in new skillsets. Such partnerships allow the cultural
sector to benet from the strengths of both private
and public sectors.
Cultural strategies for world cities
World cities theory has hitherto paid relatively
little attention to culture. Strategies for growth
and economic development have been based on
the foreign direct investment (FDI) model and have
stressed elements such as transport, education,
good housing stock and the rule of law. However,
the efort to attract global businesses and investment
can blind city governments to the need to develop
the local and the particular, and to leave space for
the unplanned. World cities, such as those featured
in this report, increasingly recognise this.
It is important to understand not just that the
cultural sector is concentrated in urban conurbations,
but that much of it shapes the wider character of the
city itself: its record shops, its large and small music
venues, its libraries and book shops, its museums and
galleries, its parks and open spaces, football clubs and
cricket grounds, students and cafes. In short, a vibrant
cultural sector, with its mix of the planned and the
spontaneous, is a vital part of the urban experience.
New York makes the point clear by stressing that
of all its signature industries, culture is the one
that is present in every borough and in every
neighbourhood.
The problem for policymakers is that these deep
and interlinking assets are only sometimes the results
of deliberate cultural policy. Instead they are ofen
the legacy of education policy, transport policy,
planning and licensing laws, migration and housing
policy, of philanthropy and commercial hard-sell
mixed together with a variety of cultural assets, public
and private. So complex is this mix that commentators
sometimes fall back on the assumption that things
just happen in cities, or that the invisible hand of the
market has worked miracles again.
But in fact the entwining of cultural policy
with other urban policies is characteristic of all world
cities. Culture is embedded in wider social, economic
and political relations. Participating in culture can
therefore have a potentially wide set of positive
outcomes beyond entertainment and the aesthetic
from creating and retaining identity, building social
cohesion, fostering community development and civic
participation, to enhancing wellbeing and generating
economic value.
In Johannesburg, for example, culture is seen
as part of health and social development, a key
to transforming the lives of previously marginalised
citizens. In Sydney, meaningful recognition of the
culture of the citys indigenous people is a major goal.
In London, cultural activities are considered a vital part
of education from school upwards. In Paris, alongside
traditional French cultural policy goals, culture is
a priority area for economic development, while in
Shanghai, culture is seen as a source of social harmony
and stability amidst rapid economic and social change.
This same mix is shown in the many agencies
and actors that are involved in urban cultural policy.
Tokyo stresses that its array of cultural activities
is not sponsored by any government or single large
corporation, but is supported by a variety of public
cultural organisations. New York also practises
the mixed economy model, with high levels of
philanthropic cultural funding alongside public
funding and consumer spending.
This embedded nature of culture is one reason
why it is inadvisable to try to develop a single blueprint
that can be transplanted from one city to another. This
rarely works. That said, there are certain challenges
that world cultural cities appear to have in common.
31 30
What the data tells us
The cities in the report
The World Cities Culture Report 2012 builds
on the work of an earlier research report, London:
A Cultural Audit (2008). That report surveyed
ve cities: London, New York, Paris, Shanghai
and Tokyo.
The World Cities Culture Report 2012 adds seven
other cities to this list. These were chosen using
a set of objective criteria such as economic wealth
and population gures (to determine the global
importance of a particular city) and the report
authors judgement of the importance of these
players on the global cultural agenda. For a detailed
description of how the cities were chosen, please
see Appendix 1.
Those 12 cities had diferent levels of engagement
in the production of this report. Nine cities Istanbul,
Johannesburg, London, Mumbai, New York, Paris,
Shanghai, Sydney, and Tokyo actively participated
in the data collection and portrayal of their cultural
urban environment. For Berlin, So Paulo and
Singapore, only data was collected.
It is important to be clear about the administrative
unit that is referred to. Many cities sprawl over
government boundaries, and it is sometimes unclear
whether the city means the city centre, its suburbs
or a wider city-region. In this report each citys
statistics refer to the following administrative areas,
unless otherwise stated.
Figure 1. City denitions
City name Corresponding administrative Population of administrative Size of administrative
area unit unit (sq. km)
Berlin State of Berlin 3,460,725 892
Istanbul Istanbul province 13,624,240 5,313
Johannesburg Gauteng province 11,328,203 18,178
London Greater London 7,825,200 1,572
Mumbai Municipal Corporation of Greater Mumbai 12,432,830 437.1
New York New York City 8,175,133 1,214.4
Paris Ile-de-France 11,797,021 12,012
So Paulo Prefecture of So Paulo 11,253,503 1,500
Shanghai Shanghai Municipal District 23,474,600 6,340.5
Singapore Nation of Singapore 5,183,700 710
Sydney Metropolitan Region of Sydney 4,575,532 12,144.5
Tokyo Tokyo Metropolis (Tokyo prefecture) 13,159,388 2,130
Source: BOP Consulting (2012)
We can make Johannesburg whatever we want
it to be. The city is here, asking us to shape it.
Johannesburg
Freedom Park, Tshwane, Johannesburg-Gauteng Courtesy of Gauteng Tourism Authority
32
About the data
The 2012 report takes as its starting point
a denition and framework for analysing culture
that is recommended by UNESCO, and which was
used in the 2008 research. This dened culture
using the domains and functions embedded within
UNESCOs (1986) Framework for Cultural Statistics.
The indicators cover:
cultural provision: categorising the range and
composition of a citys cultural infrastructure
and tracking what these institutions produce
annually
consumption and participation: quantifying
the size, nature and value of the audiences for
the cultural ofer of the comparator cities.
Informal culture has not typically been included in
statistics but is nevertheless an important part of the
picture. It afects cultural vitality (informal cultural
production and consumption, together with other
factors that add to the vibrancy or buzz of a city as
experienced at street level) and also cultural diversity
(cultural production and consumption by, and for,
a diverse range of demographic groups).
We also worked with each city to identify a small
number of additional indicators that are of specic
cultural importance to the partner cities, though it
was not always possible to collect these for every city.
The report groups the data into six thematic areas,
to allow for an exploration of patterns in the data.
The six are:
cultural heritage
literary culture
performing arts
lm and games
people and talent
cultural vitality and diversity.
opposite: Chhatrapati Sivaji Terminus (formerly Victoria Terminus), Mumbai
Courtesy of Abdul Shaban, Tata Institute of Social Sciences
35
Where next for the research?
It is worth noting that the ndings are, at least to
some extent, a reection of the research and data
collection practices in each city. Finding reliable,
good quality data for cultural indicators across
cities is challenging, and the research for this report
required the use of a variety of sources, ranging from
ofcial government statistics to listings in arts and
entertainment magazines. Some of the variations
between cities reported in individual measures also
reect diferences in denitions. For example, for
the data indicator number of foreign lms released in
a country there are diferent denitions of domestic
and foreign from country to country, afected by
factors such as the percentage of a lms budget
coming from a particular territory.
The research has also highlighted a lack of
available data for some cultural statistics, especially
for some of the cities in emerging economies.
Work with researchers from the Tata Institute of
Social Science in Mumbai is an interesting case study
in this regard. The gures for Mumbai contained
in the World Cities Culture Report 2012 cannot be
found in existing reports or statistical publications.
A signicant amount of primary research and sense-
checking of contradictory gures from diferent
sources had to be carried out, as well as estimating
gures through a process of grossing-up from
a sample of activity.
A number of potential indicators have had to
be excluded from the analysis, because reliable data
could not be collected for all the cities. This included
such things as the number of archives and the number
of public art installations and artist workspaces, to
more culturally specic indicators such as the number
of pianos owned by residents or dedicated cultural
community centres. Providing an even more rounded
account of culture in world cities will require further
work to improve the data.
There are four areas where more data would be
valuable:
informal culture: how it works, and what its
potential contribution is
new ways of cultural consumption, including digital
consumption and the reasons why and how people
participate (or not) in culture
the role of artists and other creative people in
a citys social and economic fabric
diferent approaches to valuing culture.
Despite these gaps, the information gathered for
the 2012 report provides a rich dataset which can
be analysed further in the future. It may be possible,
for instance, to explore whether variables such as
GDP, diversity and participation rates are related.
This research agenda will be taken forward by
the World Cities Culture Forum, including in future
editions of the World Cities Culture Report. That
said, the research carried out for this 2012 report
still represents a breakthrough in comparative data
for world cities. Policymakers need to have more
information about their citys culture in order to be
efective custodians of it; this report is a big step
towards that goal. The next sections discuss the
ndings from the research.
opposite: Origami Tigers, Sydney
Photo: Paul Patterson, courtesy of City of Sydney
37 36
Figure 2. Cultural heritage
Indicator Berlin Istanbul Johannesburg London Mumbai New York Paris So Paulo Shanghai Singapore Sydney Tokyo
No. of national museums 18 7 9 11 4 5 24 1 27 5 1 8
No. of other museums 140 71 51 162 6 126 113 110 87 48 59 39
No. of art galleries 421 267 76 857 152 721 1046 N/A 208 252 122 688
% attending museums and galleries N/A N/A 8% 53.6% N/A N/A 43% N/A 47.5% 40% 25.9% 33%
Visits to ve most popular museums/galleries (million) 4.7 7.1 0.6 25.3 1.8 15.4 23.4 2.2 6.6 2.7 2.8 9.7
Visits to ve most popular museums/galleries per capita 1.4 0.5 0.1 3.2 0.1 1.9 2 0.2 0.3 0.5 0.6 0.8
No. of World Heritage Sites 3 1 1 4 2 1 4 0 0 0 2 1
Other heritage/historical sites 8,689 30,188 281 18,901 42 1,482 3,792 12 2,049 63 783 419
% public green space (parks and gardens) 14.4% 1.5% 24% 38.4% 2.5% 14% 9.4% N/A 2.6% 47% 46% 3.4%
Source: BOP Consulting (2012)
national museums tend to be found in a countrys
capital, explaining the relatively low scores on
this measure for the likes of New York, Sydney and
So Paulo. Despite this, all of the cities apart from
Mumbai have at least 40 museums.
Turning to galleries, the gures combine public
and commercial galleries, and are thus evidence both
of a citys cultural legacy and the dynamism of its
contemporary art market. Visual art is a eld which
seems to be unusually concentrated in the worlds
leading cities. The mix of galleries, artists, dealers,
buyers and critics found in big cities provide the
infrastructure for artistic activity; impressionism in
Paris and abstract expressionism in New York are just
two examples of art movements inextricably linked to
their host city. In todays more globalised world other
big cities play their part. Istanbul and So Paulo have
established art biennials which have become important
xtures on the international art calendar. So Paulos is
the second-oldest in the world, afer Venices, having
started in 1951. Data from the Art Newspaper suggests
that many of the worlds most popular art exhibitions
are held in the 12 cities covered by this report.
The rich cultural inheritance of world cities is
demonstrated in other ways too. Their public green
space is one such element, and the most obvious
manifestation is to be found in a citys public parks.
These have disparate origins some are former royal
hunting grounds, such as Londons Hyde Park, while
others, such as Central Park in New York, were civic
initiatives. These early examples have proved inuential
in other countries. Ueno Park in Tokyo was one of
Japans rst public parks, opening in 1873 on land
previously owned by a temple. The park was developed
during the Meiji period, a time when Tokyo (and Japan)
was known for adopting many new ideas from outside
the country. The 500,000m
2
park is one of the most
visited in Japan, and is famous for its spring cherry
blossom and the museums it contains, which include
the Tokyo National Museum.
Cultural heritage
A citys cultural heritage can be considered to
include many things. The report has considered data
on museums and galleries, archives, heritage sites
and public green spaces. They are all in a sense the
cultural inheritance of a city, ofen established by
previous generations of residents. As such, they
reect the citys history. Was it an imperial capital?
Is it currently a national capital? The contents of
many art galleries, for instance, reect wider political
or social turbulence. The core of the collection of
the Dulwich Picture Gallery in London was gathered
between 1790 and 1795 by two London art dealers
on behalf of the King of Poland, who intended it to
form a royal collection in his country. In the ve years
it took the dealers to build the collection, Poland was
partitioned and the King forced to abdicate. Attempts
to sell the pictures failed, and they ultimately came to
rest in south London, where they remain to this day.
Museums and galleries are ofen very visible
symbols of a citys cultural identity. They house their
nations treasures. New Yorks Metropolitan Museum,
Londons British Museum, Pariss Louvre and Tokyos
National Art Center, to name but four, are among
the leading tourist attractions in their cities. Nor are
such places just for tourists in the majority of the
cities a third or more of the resident population visited
a museum or gallery every year. The number of visitors
resulting from this combination of tourists and local
residents can be strikingly high. The ve most popular
museums and galleries in both London and Paris
receive more than 20 million visits between them
(though many of Londons have free entry), while
Shanghais and Istanbuls top ve attract more
than six million. Newer cities too are keen to develop
their museums and galleries: Singapore has more
than 50 museums, and 40 per cent of its residents
visit a museum or gallery each year.
It should be noted that most countries designate
certain museums as national museums, indicating
they have particularly signicant collections. Such
38
The value of parks to urban life continues to be
recognised. New parks continue to be built, even in
established cities like New Yorks High Line park,
built on an abandoned elevated railway, or the new
Olympic Park in east London, one of the largest urban
parks to be created in Europe for decades. However,
the highest percentages of public green space are to
be found in Sydney and Singapore, where it accounts
for almost half the land area.
Heritage sites are another example of cities
drawing on their cultural legacy to enliven their
present. The 12 cities under review are home to 19
UNESCO World Heritage Sites, ranging from Museum
Island in Berlin to the Sydney Opera House. Some of
these sites contain several notable buildings. Pariss
world heritage site is an extreme case, covering both
banks of the Seine and including the likes of the
Louvre, the Eifel Tower, Notre Dame, Les Invalides
and the Place de la Concorde, among others.
Each city also has its own designation of historically
signicant sites or buildings. These denitions difer
in many ways, and are hence difcult to compare,
but the numbers of buildings and monuments of
historic importance are striking: more than 30,000
in Istanbul, almost 19,000 in London, and 9,000
in Berlin. These diferences in denition ofen reect
diferent attitudes to heritage and modernity across
countries. Such sites are again important both to
tourists and residents, helping to give each city its
distinctive character. In recent years schemes such
as Heritage Open Days (in Berlin and Paris) or Open
House (in London) have been devised to enable the
public to have greater access to these buildings.
The uniqueness of Tokyo culture lies in the fact that
so many people can participate in it as equals.
Tokyo
opposite: Courtesy of Tokyo Metropolitan Government
41
Literary culture
The printing press is perhaps the single most
important innovation in communications technology
the world has seen, and the printed book became
the easiest way to communicate knowledge over long
distances. Yet the printing press has also contributed
to a more urban world, by spurring revolutions in
thinking about politics, religion and social attitudes.
The importance of literary culture in cities is
reected in the statistics gathered for this report.
Although libraries have existed for centuries
the famous ancient Library of Alexandria was
built more than 2,300 years ago genuinely public
libraries, aimed at the mass of the population, are
a comparatively recent phenomenon, dating from
the industrial revolution and eforts to encourage
greater literacy and education. Driven by government
legislation, and by reformers such as Andrew Carnegie
in the United States, the public library spread rapidly
across the world. Even in the internet age, major
new libraries continue to be built. The National Library
of Singapore opened in 2005 at a cost of more than
250m and holds more than 700,000 books and
other print and non-print materials.
Today, half of the 12 world cities have 200 or
more public libraries, with Paris reporting the highest
number. The world cities libraries lend huge numbers
of books. Seven cities lend at least 20m a year, with
Tokyo lending more than 110m. Both Tokyo and
New York lend more than eight books a year per
head of population.
Libraries are, of course, not the only source of
books and reading materials. The cities also contain
thousands of bookshops. In the richer countries,
bookshops are under pressure from a range of
factors, such as the spread of e-books, high rents
and changing consumer taste. The numbers of shops
are still signicant London has 800, while New York
has 750. However, other cities report higher numbers:
So Paulo has 870 and Johannesburg more than
1,000. Shanghai leads the way, with over 3,000.
The report also collected data for rare and second-
hand bookshops. These were most frequently found
in Johannesburg (over 900) and Tokyo (almost 700).
Statistics on publishing are hard to nd for cities,
though national data is available. Once again, historical
accident has played a part in determining the centres
of publishing. Edward Glaeser has pointed out that
in the nineteenth century the big prots in American
publishing came from printing pirated copies of
English novels. New Yorks port and East Coast
location meant its publishers could get hold of the
English originals before their rivals in other cities,
which allowed it to build up a dominant position
in the industry it maintains to this day.
The number of books published has exploded in
recent years. In China and the USA around 300,000
are published every year, while in the UK the gure
is just over 150,000. France and Japan see more than
70,000 published annually.
(See pages 4243 for Figure 3. Literary culture)
opposite: Librairie Artazart, Paris Photo: Maria Spera /CRT IdF
43 42
Figure 3. Literary culture
Indicator Berlin Istanbul Johannesburg London Mumbai New York Paris So Paulo Shanghai Singapore Sydney Tokyo
No. of public libraries 88 42 234 383 80 220 830 116 477 25 154 377
No. of public libraries per 100,000 people 2.5 0.3 2 5 0.006 3 7 1 2 0.5 3 3
No. of library book loans (million) 23.6 0.1 9.0 37.2 2.05 68 47.0 0.8 58.7 33.2 19.1 112.2
No. of library book loans per capita 6.8 <0.1 0.8 4.8 0.2 8.3 4.0 0.1 2.5 6.5 4.2 8.6
No. of bookshops 245 463 1,020 802 525 777 1,025 869 1,322 164 439 1,675
No. of bookshops per 100,000 people 7 3 9 10 4 9 9 8 15 3 10 13
No. of rare and second-hand bookshops 4 N/A 943 68 6 99 282 90 343 12 93 681
No. of book titles published in country 93,124 34,863 3,653 151,969 82,537 302,410 74,788 57,600 328,387 N/A 8,602 78,501
Source: BOP Consulting (2012)
Figure 4. Film and games
Indicator Berlin Istanbul Johannesburg London Mumbai New York Paris So Paulo Shanghai Singapore Sydney Tokyo
No. of cinemas 94 118 47 108 105 117 302 45 230 34 67 82
No. of cinema screens 266 501 368 566 232 501 1003 282 670 239 295 334
No. of cinema screens per million people 77 38 33 73 19 61 85 25 28 47 64 25
No. of cinema admissions (millions) 9.1 10.3 13.1 41.6 10.9 N/A 58.2 50 22.9 22.1 2.3 29.3
No. of cinema admissions per capita 2.6 0.8 1.3 5.3 0.9 N/A 4.9 4.4 1.0 4.4 4.8 2.2
No. of lms released theatrically in country 508 254 203 557 3,781 610 575 303 252 352 342 799
No. of foreign lms released theatrically in country 315 184 21 438 298 N/A 305 228 60 N/A 306 358
No. of lm festivals 33 35 16 61 6 57 190 29 2 N/A 36 35
Attendance at most popular lm festival 484,860 150,000 7,500 132,000 100,000 410,000 151,800 250,000 260,000 N/A 110,000 121,010
No. of video games arcades N/A 18 11 44 278 17 14 N/A 587 N/A 10 997
Source: BOP Consulting (2012)
45 44 Daniel Craig stars as James Bond in London-shot Skyfall Eon/MGM/Sony
Film and games
Cinema is another product of the industrial revolution.
Precursors to the new medium began to appear in
the late nineteenth century, and the Lumire brothers
showed their rst projected pictures in Paris in 1895.
The technology quickly spread and developed, and
within a matter of years had become a hugely popular
form of mass entertainment. Afer initially being
shown in fairs and travelling shows, the emergence
of the nickelodeon in the United States foreshadowed
the rise of the modern cinema a venue dedicated
to lm.
Film production is a widely dispersed activity. Its
capital, Los Angeles, is not one of the 12 cities under
review here. Nevertheless, many of the 12 have had,
and continue to have, signicant roles in lmmaking,
ofen being home to major studio complexes. One
of them, Mumbai, is now believed to make more lms
than any other city in the world. This section does
not, however, focus on lm production. Instead, the
report looks at lm consumption, the opportunities
to watch lm.
The statistics suggest that, more than a century
on from the Lumire brothers, Paris love afair with
the cinema continues. It has more cinemas (302),
and more cinema screens (1,003), than any other city.
Per head of population, London, Berlin and Sydney
are also well-served for cinema screens. While Paris
also has the highest number of cinema admissions,
with 58 million, Londons admissions per head of
population are slightly higher.
All the cities in the report have access to a wide
range of lms. The data on the number of lms
released theatrically each year is only available at
a national level, but it shows that Indian audiences
have more lms a year to choose from than any other
country by some distance (3,700). Other countries
are less prodigious in their consumption, but
still have at least 200 lms a year to choose from.
A high percentage of these lms come from overseas.
In the three Western European cities and in So Paulo,
Sydney and Istanbul, more than half the lms released
are classed as foreign.
Film festivals are another indicator of the role
lm plays in a citys culture, and ofer further evidence
of the diversity of lm oferings in a city many of
the lms shown at festivals will not get full theatrical
releases. Berlin, New York, Tokyo and London all host
major lm festivals, but once again it is Paris which
tops the list in terms of sheer numbers, with 190,
many taking place at community or neighbourhood
level. The best-attended single festival in the cities
under review, though, is Berlins Berlinale.
Film is not the only form of audio-visual art.
Video games have emerged as a new form in recent
decades, and the data suggests they are particularly
important in Asian cities. Tokyo has almost 1,000
video games arcades, while Shanghai has almost
600 and Mumbai close to 300. Cities outside Asia
generally have fewer than 50. In part this reects
diferences in culture pachinko parlours have long
been a distinctive feature of Tokyo life, and this has
carried over into video games arcades.
(See pages 4243 for Figure 4. Film and games)
47
Performing arts
Performing arts is a wide-ranging category. The
report has included measures on theatre, music,
comedy and dance. These art forms are in some
respects the essence of urban culture, as they
only ourish where people with artistic talent
and technical skills can be brought together with
audiences large enough to support their activities.
As a result, performance traditions have developed
in certain cities that have endured for centuries.
London, for example, has been a great centre
for theatre since the late sixteenth century, when
Shakespeare, Marlowe, Kyd and others began writing
their plays and establishing their companies.
The sheer scale and diversity of world cities
provides a wide range of potential audiences for
a huge variety of live performance. This audience is
big enough to support large venues such as theatres
or opera houses. However, world cities also have
many informal, indoor and outdoor performance
spaces, ofen in bars, pubs, or restaurants, and many
forgotten or hidden spaces, which can be used by, for
instance, site-specic theatre productions. As such,
they provide a mix of venues that allows these art
forms to ourish in ways that are less possible in
smaller towns or cities.
The data conrms that theatre remains vibrant
in major cities. New York has 420 theatres, while
Paris has 353 and Tokyo has 230. London follows
these three, with 214. The number of theatrical
performances is considerable. The total in New York
is estimated at 43,000, with 32,000 in London and
more than 20,000 each in Paris and Tokyo. However,
theatre attendance is highest in New York at over
28 million, although London reports 14 million a year
just for theatres that are members of SOLT (Society
of London Theatres), which are mostly the West End
commercial theatres.
Many of the cities also have signicant numbers
of live music venues. Some of this activity takes place
in major concert halls, which ofen have a focus on
classical or orchestral music. Tokyo and New York each
have feen of these. They are, however, just the tip
of the iceberg in terms of the number of venues.
Paris, Tokyo and London each have close to, or
more than, 350 live music venues, with New York and
Berlin having more than 200. Estimating the number
of music performances is not straightforward, but the
gures suggest Paris has more than 30,000 in a year,
ahead of New York, Tokyo and London.
Comedy as a distinct genre with its own venues
is only a couple of decades old, with wide variations
across the cities. However, there are thousands of
performances in New York, London, Paris and Tokyo.
In the cities of the emerging economies, by contrast,
such performances are counted in the hundreds.
Dance performances are more evenly spread. New
York has signicantly more than any of the other cities
(6,300) but behind it Paris, London, Shanghai, Tokyo
and Singapore have at least 1,500 a year. In many
cases this level of activity is built on high levels of
participation in dance by non-professionals.
(See pages 4849 for Figure 5. Performing arts)
opposite: Carmen, New York Photo: Paco Manzano,
courtesy of World Music Institute and NYC Department of Cultural Afairs
49 48
Figure 5. Performing arts
Indicator Berlin Istanbul Johannesburg London Mumbai New York Paris So Paulo Shanghai Singapore Sydney Tokyo
No. of theatres 56 184 24 214 120 420 353 116 97 55 73 230
No. of theatre performances 6,900 6,349 5,000 32,448 8,750 43,004 26,676 N/A 15,618 2,421 4,966 24,575
No. of theatre admissions (million) 2.4 2.4 1.7 14.2 2.7 28.1 5.7 N/A 0.6 0.6 0.7 12
No. of theatre admissions per 100,000 people 0.7 0.2 0.2 1.8 0.2 3.5 0.5 N/A 0.3 0.1 0.2 0.9
No. of live music venues 250 91 46 349 98 277 423 294 44 N/A 69 385
No. of major concert halls 2 6 13 10 2 15 15 7 4 8 4 15
No. of music performances N/A N/A 7,400 17,108 593 22,204 33,020 N/A 3,356 2,418 1,014 15,617
No. of comedy performances N/A N/A 508 11,388 217 11,076 10,348 300 N/A 416 432 8,452
No. of dance performances 111 154 250 2,756 130 6,292 3,172 100 1,686 1,572 283 1,598
No. of non-professional dance schools 104 98 36 618 N/A 682 715 29 438 89 441 748
Source: BOP Consulting (2012)
Figure 6. People and talent
Indicator Berlin Istanbul Johannesburg London Mumbai New York Paris So Paulo Shanghai Singapore Sydney Tokyo
No. of specialist public cultural HE establishments 5 N/A N/A 11 18 N/A 30 2 5 N/A 2 1
No. of specialist private cultural HE establishments 12 N/A 24 46 N/A 12 73 4 18 2 20 16
No. of students at specialist public Art & Design 5,091 N/A N/A 34,920 1,375 N/A 14,024 N/A 13,324 N/A 15,571 24,120
institutions
No. of students of Art & Design degree courses at N/A 774 9,066 15,745 N/A N/A N/A N/A 43,501 7,660 13,972 25,444
generalist universities
Source: BOP Consulting (2012)
51 50
People and talent
Cities are, of course, not simply collections of buildings
or institutions. Their lifeblood is their population and
their openness to the ideas and energy new people
can bring. This report attempts to measure some
of the cultural dynamism inherent in successful cities
by considering their human capital.
Most of the 12 cities have a number of publicly
funded specialist cultural higher education institutions.
These can be very expensive to run, but they are an
expression of the value placed on cultural skills by
society. In most countries such institutions are heavily
concentrated in the largest cities. It is also useful to
look at privately funded institutions, to reect the
diferent ways in which higher education is organised
in any given country. However, in some of the cities,
such as Istanbul, New York and Johannesburg, art
faculties in the public education sector are contained
within public generalist universities.
The subjects covered by these specialist
institutions tell us something about the cultural
forms that are most valued by a particular city or
country. While most cities have specialist schools
for performing arts (music, drama and dance) and
the ne arts, Berlin and Paris also have specialist
universities for lm, Tokyo has one for fashion,
London has one for design, and Mumbai and Paris
have ones for architecture.
Despite having a smaller number of institutions
than some of the others, London has almost 35,000
students in specialist art and design institutions
more than any other city. Shanghai by contrast
has 43,000 studying art and design at generalist
universities, again reecting diferent approaches
to higher education.
(See pages 4849 for Figure 6. People and talent)
The sheer number of different cultures in London has
an effect on both its citizens and on visitors. At street
level, it enables punks, Goths and business people
to inhabit the same space.
London
Finale of McQ show, London Fashion Week February 2012 British Fashion Council
53
Cultural vitality and diversity
The human capital of a city helps to drive its vitality
and diversity. These are hard to capture in a single
indicator, so the report has compiled a number of
measures looking at diferent aspects of the less
formal entertainment and street life of the cities.
These factors might be thought of as measuring
the buzz of a city. Buzz matters because it shapes
many of the perceptions of a city for residents
and tourists alike, and it may also have benecial
economic efects. The academic Richard Florida
has argued that an open-minded, diverse, exciting
culture makes a city attractive to educated and
creative workers and hence to the businesses that
want to employ them. His views remain controversial,
but there is little doubt that a lively and energetic
street life can be evidence of a citys wider strengths
the safety and vibrancy of its neighbourhoods; the
willingness of its communities to mix; the degree of
civic pride felt by residents; and the desire to come
together in communal celebrations in an increasingly
individualistic world. A citys residents are both
observers and participants in its street life.
The rst aspects of cultural vitality the report
looked at were night clubs, discos and dance halls.
Dening these precisely is a challenge, but the
gures suggest that So Paulo and Shanghai were
particularly strong in this eld, with around 2,000
each. Among the richer cities, New York led the
way, with 584. Bars too are a feature of the more
informal culture of a city, and therefore difcult to
quantify, especially in cities such as So Paulo and
Johannesburg. Tokyo reports the highest number
(14,000), well ahead of the remaining cities.
Food is ofen regarded as a central aspect of
culture in the wider sense of the word. The world
cities have strikingly large numbers of restaurants.
Tokyo has 150,000 eating places, while London has
37,000 and New York and Paris have over 20,000.
Johannesburg and So Paulo have over 10,000.
Michelin has a long-established star system for
rating restaurants. It only operates in ve of the
cities on the list, but it conrms Tokyos dominance
the Japanese capital has more Michelin-starred
restaurants than the other four cities put together.
Street festivals are another example of a citys
vitality. Sydney is particularly strong in this respect,
having more festivals than New York or London
(perhaps a reection of its climate and natural
beauty). Attendances at major festivals can be
enormous: So Paulos Carnival attracts four million
people, equivalent to more than a third of the
citys population.
opposite: The Vault at Pfafs, New York City
Photo: Alexander Thompson, courtesy of NYC Department of Cultural Afairs
55 54
Figure 7. Cultural vitality and diversity
Indicator Berlin Istanbul Johannesburg London Mumbai New York Paris So Paulo Shanghai Singapore Sydney Tokyo
No. of night clubs, discos and dance halls 152 N/A 130 337 29 584 190 2,000 1,865 56 75 73
No. of bars 1,247 657 N/A 2,143 543 7,224 3,350 N/A 1,320 576 661 14,184
No. of bars per 100,000 people 36 5 N/A 27 4 88 30 N/A 6 11 14 108
No. of restaurants 4,885 1,508 15,000 37,450 13,205 24,149 22,327 12,500 55,614 2,637 4,554 150,510
No. of restaurants per 100,000 population 141 11 133 478 11 295 189 111 237 51 99 1,144
No. of festivals/celebrations 63 136 82 254 34 309 360 N/A 33 N/A 312 485
Attendance at most popular festival 1,360,000 N/A 67,829 1,500,000 2,000,000 2,500,000 1,500,000 4,000,000 306,000 N/A 653,000 1,270,000
No. of international students 21,805 6,643 37,067 99,360 1,500 60,791 96,782 15,432 43,016 91,500 N/A 43,188
No. of international tourists 2,871,000 8,057,879 3,988,335 15,216,000 2,195,000 8,380,000 13,300,000 1,600,000 8,511,200 11,641,700 2,610,000 5,940,000
No. of int. tourists as % of city population 83% 59.1% 35.2% 194.5% 17.7% 102.5% 112.7% 14% 36.3% 224.6% 57.0% 45.1%
% foreign-born population 13.2% N/A 5.7% 30.8% 1.4% 36.8% 12.4% N/A 0.9% 26.9% 34.4% 2.4%
Source: BOP Consulting (2012)
Cultural diversity is of the essence for human beings,
just as biodiversity maintains biological balance.
Shanghai
The 12 world cities are major destinations for
international tourists. Such visitors are an indicator
of the appeal of a particular city and its culture, but
also contribute to it. International tourists make up
a signicant slice of the audience for many cultural
attractions in world cities. London receives the
most international tourists of our world cities
over 15 million. Paris and Singapore follow, with
13.3 million and 11.6 million respectively.
Diversity matters to the culture of world cities for
a number of reasons. Firstly, new arrivals bring their
own culture with them, something that is seen most
obviously in the wide variety of ethnic restaurants
which characterise most world cities. Secondly, new
arrivals can also act as bridges between their city and
their land of origin, speeding the exchange of ideas
and experiences. Finally, perhaps the greatest cultural
benet stems from the meeting of cultural forms.
Few artistic innovations are entirely new. In most
cases they are hybrids, drawing on and mixing
elements from diferent sources to create something
distinctive. By increasing the number of available
ideas and approaches, diversity thus encourages this
mixing and innovation.
Many of the cities are strikingly diverse (especially
the English-speaking ones). In London, New York,
Sydney and Singapore more than a quarter of the
current population is foreign-born. Other cities
have experienced waves of immigration in earlier
decades, giving them very diverse populations now.
So Paulos people, for example, are the descendants
of Europeans, Africans and Asians who came to
(or were forcibly brought to) the city in the last
200 years.
Although the report has not been able to collect
statistics for this, it should also be noted that many of
the world cities also receive considerable in-migration
from other parts of their home country. Istanbul, for
example, has seen substantial migration in recent
decades from rural areas of Anatolia.
57 opposite: Tokyo Marathon Courtesy of Tokyo Metropolitan Government
In summary
The data suggests that the legacy efects of cities
cultural inheritance (the fact that some cities have
beneted from centuries of investment in cultural
infrastructure and promotion of cultural activities) can
be persistent. This efect is obvious in infrastructure.
As cities in emerging economies grow richer, these
gaps are likely to reduce, but they may take many
years to close. Though they may eventually do
so New York has, over time, caught and passed
London and Paris on many indicators. Some emerging
cities have ambitious plans in this area: Shanghai,
for example, intends to build or develop new
facilities at the Palace of Chinese Arts, Shanghai
Contemporary Arts Museum, Shanghai Expo Museum
and the Shanghai Childrens Art Theatre in the
next few years.
However, infrastructure is not the only measure
of culture. Researchers in developed economies have
only latterly woken up to the importance of informal
culture, suggesting that such activity festivals,
for example is an increasingly important driver
of a citys appeal to residents and businesses alike.
In this domain, the gap between the older, richer
cities and those of the emerging economies is smaller,
and on some of these indicators the emerging cities
outscore the older cities in part, because they
are ofen larger. These wider measures of vitality
and diversity suggest that the world cities are
more balanced culturally than simple counts of,
say, museums would indicate.
However, even if informal activity is strong, and
the cultural infrastructure is improving, there is a third
dimension: participation in culture. Here the gures
suggest that the more established world cities of
London, New York, Tokyo and Paris still lead the way
in terms of number of performances and audiences.
Culture ultimately has to engage with the mass of
the people if it is to become a dynamic force in the
life of the city.
This was eloquently described by Tokyo. They note
that culture has traditionally been seen as egalitarian
not elitist: the culture of Japan has always been the
domain of the common citizen. This is expressed in
a number of ways, notably the lack of clear boundaries
between professional and amateur activities, and
enables widespread public cultural participation.
This ambition to broaden participation as much
as possible is perhaps something that all cities working
to integrate culture into their urban landscape can
aspire to.
The full data tables for all indicators can be found
in Appendix 2.
City portraits
The report now turns to a series of short portraits of
nine cities, exploring some of the recent developments
in these cities, and the context in which cultural policy
is made. These portraits are drawn in part from the
responses cities gave to a series of policy questions
and their presentations at the Shanghai Symposium.
The list of questions asked can be found in Appendix 4.
The cities are discussed in alphabetical order:
Istanbul, Johannesburg, London, Mumbai, New York,
Paris, Shanghai, Sydney and Tokyo.
opposite: Paris Plage Photo: Alfred/SipaPress/CRT IdF
61
Istanbul is both an ancient and modern city. Its rst
Neolithic settlements date from 8,500 years ago. The
Greeks founded Byzantium there in 700 BC, before it
became, as Constantinople, the eastern capital of the
Roman Empire, and then the capital of the Ottoman
Empire for almost ve centuries. Now, although
Istanbul is no longer a capital, it is the largest city
of a fast-growing nation-state. Its location on the
Bosporus makes it a bridge between Europe and Asia.
Istanbuls history and thus culture is apparent
in its buildings. The citys architecture mixes Western
and Eastern styles. There are a few surviving Roman
relics, such as the Hippodrome, Basilica Cistern
and Column of Constantine, while the Genoese
bequeathed the Galata Tower. However, it is the
Byzantine and Ottoman buildings which dene
the city. Perhaps the most notable Byzantine one
is the Hagia Sophia, which stood as the worlds largest
cathedral for a thousand years, before being turned
into a mosque under Ottoman rule. Today Hagia
Sophia is a museum. The many great Ottoman
buildings include the Topkapi Palace for centuries
the residence and administrative centre of the
Ottoman sultans, now also a museum and the
Blue and Sleymaniye Mosques. The international
signicance of many of the sites is recognised by their
inclusion in UNESCOs Historic Areas of Istanbul
World Heritage Site.
Istanbul is, though, very much a modern city
as well. Internal migration from rural parts of Turkey
has led to a surge in the citys population in recent
decades, and it is now home to 20 per cent of
Turkeys people. It generates 22 per cent of the
countrys GDP and takes 40 per cent of its tax
revenues. Almost all of Turkeys major cultural and
creative businesses have their headquarters in the
city, while 49 per cent of visits to museums and
30 per cent of cultural performances in Turkey
take place there.
Istanbuls contemporary culture is attracting
increasing attention. It was one of the European
Capitals of Culture in 2010. Many festivals,
exhibitions and events were held, and two new
museums were developed: the Museum of the
Princes Islands, and the Museum of Innocence,
established by the Nobel Prize-winning novelist
Orhan Pamuk, which uses lms, photos and other
memorabilia to document daily life in Istanbul
from the 1950s to the present day.
Istanbuls growing cultural impact is also reected
in the rising status of its Biennial, which started in
1987. It brings together Turkish and foreign artists,
and has quickly established itself as a major event
Istanbul
Istanbul province
Geographical area: 5,313 sq. km
Total population: 13,624,240
Percentage of total national population living
in the city: 18.2%
Education level percentage with degree
level or higher: 9.2%
GDP per capita in 2008 (PPP): US$13,359
Percentage creative industries employment:
N/A
opposite: Halic, Istanbul
Photo: Bekir Baki Aksu, courtesy of Istanbul Directorate of Culture and Tourism
63
on the international visual art circuit. Nowadays it
is ranked alongside the older So Paulo and Sydney
biennials in prestige.
The national Ministry of Culture and Tourism
sponsors a range of activity in the city including
theatre and the lm industry, as well as festivals,
concerts, exhibitions, conferences and fairs. The
Istanbul Metropolitan Municipality also supports
culture, with one of its goals being to spread access
to cultural services out to the citys peripheries.
Istanbuls private sector in the city is also increasingly
involved in culture, with large companies and banks
in particular keen to invest in art.
Cultural policy in Istanbul is shaped by a number
of bodies. The main goals for cultural policy are
to improve access and participation, to help social
cohesion, and to realise economic benets. However,
the city faces challenges in achieving these ambitions.
Cultural consumption is low, and few people are
in the habit of visiting museums or attending cultural
events. Libraries in particular are under-used. Public
investment has been concentrated on cultural centres
and on restoring cultural heritage. While the city has
a number of public theatres, the OECD has pointed
out that for a city of its size, it possesses a remarkably
low number of small theatres and other purpose-built
spaces for arts, literature and music. The OECD
also thought Istanbul was not exploiting its cultural
heritage assets sufciently.
That said, the city also has considerable strengths
its growing wealth, its position as Turkeys cultural
leader and pioneer, and the increasing interest in the
arts and culture, and most of all, its young, dynamic
population. Istanbul is tapping into this energy and
dynamism by rapidly integrating with other cities
of culture, and its policymakers are positioning it
as a global city.
Istanbul Metropolitan Municipality:
www.ibb.gov.tr/en-US
Istanbul Foundation For Culture And Arts:
www.iksv.org/en
opposite: Hagia Sophia, Istanbul
Photo: Gungor Ozsoy, courtesy of Istanbul Directorate of Culture and Tourism
65
Johannesburg-Gauteng
Gauteng province
Geographical area: 18,178 sq. km
Total population: 11,328,203
Percentage of total national population living
in the city: 22.4%
Education level percentage with degree
level or higher: 32%
GDP per capita in 2008 (PPP): US$9,710
Percentage creative industries employment:
4.5%
1. Johannesburg now forms part of one continuous urban
development which includes three Metros (Johannesburg,
shwane and Ekurhuleni) and two District Municipalities (Sedibeng
and West Rand) within the Gauteng province, and a number of
municipalities around Gauteng. This emergent megacity has
acquired a distinct identity as the Gauteng City Region and has
become increasingly important in policymaking terms.
Johannesburg-Gauteng
1
is uniquely positioned
as a city-region that straddles the developed and
developing world, and serves as a creative, cultural
and commercial gateway to the rest of the continent.
It is a driver and hub for cultural and creative
production, generating new cultural forms, new
modes of production and consumption, and new
organisational and business models.
The culture of the city has been profoundly shaped
by the years of apartheid. How to deal with the legacy
of that time remains the single greatest challenge
to the citys cultural policymakers. Are Western
and African notions of culture distinct or diferent
expressions of universal values? Should Johannesburg
try to compete with other world cities, adopting
a similar agenda, or should it follow its own path?
And as Johannesburg itself changes it has become
a magnet for immigrants from across Africa, for
instance how can its culture reect those changes?
The city in a sense has a blank canvas on which to work
to respond to these questions as the Johannesburg
DJ/experimental rock outt, BLK JKS Soundsystem,
says the city is here, asking us to shape it.
For now at least, cultural policy in the city (and
the wider Gauteng city-region) prioritises a balanced
approach to social and economic development, as
well as destination marketing. As the arts, culture
and heritage directorate of the City of Johannesburg
puts it: the Directorate is largely driven by an agenda
that sees its key output being its capacity to impact
favourably on social cohesion, the reduction of
poverty and the rapid transformation of the apartheid
City legacy.
Johannesburg-Gauteng seems in some respects to
be two cities when it comes to culture. The city is part
of the international cultural scene in some aspects
of high culture. It has produced a number of notable
artists, writers, actors and lmmakers; while some of
its cultural organisations, such as the Market theatre,
have acquired international reputations for their work.
For now at least, though, consumption of such art
remains concentrated among the wealthier segments
of society, especially the top ten per cent.
Johannesburgs attitude to cultural development is
shaped by its desire to boost participation among the
other 90 per cent. It has sought to do so particularly
through promoting festivals and carnival
opposite: Courtesy of Gauteng Tourism Authority
67 66
industries development. A mapping study in 2008
generated an evidence base for a Creative Industries
Development Framework for the city-region. This has
led to targeted support from the Gauteng government
for a range of industry development initiatives and
institutions such as the Gauteng Film Commission,
the Joburg Art Fair, Moshito (a music business
think-tank-cum-expo) and SA Fashion Week, all
of which have played a powerful role in promoting
Gauteng as a nexus for both creative commerce
and business intelligence.
The rationalisation of the city-regions strategic
heritage and cultural tourism infrastructure and
the collaboration between government departments
responsible for tourism and arts and culture,
has sought to give impetus to the review and
implementation of the aforementioned framework.
The development of a national Heritage and Cultural
Tourism Strategy, designed to guide and provide
direction to the development and promotion
of heritage and cultural tourism, has also brought
related policy and marketing issues into sharper
focus within the city-region. Cultural tourism is now
being prioritised through the implementation of the
Gauteng Tourism Sector Strategy.
For the city-region, culture has ofen been a way
to address some of the bitter legacies of its singular
history. The challenge for it now is to nd ways
to efectively tap into the other potential benets
culture can ofer its people, while not neglecting
its healing role in society. Its policymakers, artists
and audiences have the opportunity to reimagine
the city to follow their own path to create
something unique.
Gauteng Tourism Authority: www.gauteng.net
Gauteng City-Region Observatory: www.gcro.ac.za
Johannesburg Live: www.jhblive.com
Soweto Theatre, Johannesburg Photo: Peter Hassall
programming, and the development of cultural
infrastructure in under-served parts of the city-region.
While the creation of new infrastructure has been
a priority, new considerations related to investment
in people and activity and the maximising of existing
infrastructure are increasingly being foregrounded.
There have been several major developments in
cultural facilities since 1994. In particular, a new
heritage infrastructure has been realised, one which
better reects the history of South Africas people and
the struggle against apartheid. Among the key sites are
Constitution Hill, the location of a former prison where
Nelson Mandela was once held and now home to three
museums and the Constitutional Court; Freedom Park
in Tshwane, which includes a memorial and museum
telling the story of South Africa; the Hector Pieterson
Memorial and museum, which commemorates the
history of the Soweto uprising of 1976; the Apartheid
Museum; the Maropeng/Cradle of Humankind world
heritage site; Walter Sisulu Square in Kliptown in
Soweto; the Human Rights Precinct in Sedibeng,
and Chancellor House, the original ofce of Nelson
Mandelas law rm. Johannesburg is also building
a Holocaust and Genocide Centre.
There are a handful of other cultural venues under
development, sometimes undertaken in partnership
with the private sector. They include a new art gallery
in Sandton and a Centre for Contemporary Design
on the east end of the old inner city. The most notable
is the Soweto theatre. This striking building is the
rst theatre to be built in a township, and is part of an
efort to raise the quality of life in Soweto to compare
with the rest of Johannesburg. It contains three
theatre spaces, the largest of which has 630 seats,
and an outdoor amphitheatre, which can accommodate
3,500. It will be a agship for the growth in cultural
activity Soweto is seeing.
Like most other world cities Johannesburg-
Gauteng is also keen to promote festivals and events:
examples include Joburg Art Fair, Dance Umbrella,
Joy of Jazz, and Arts Alive, as well as carnivals and
the Food-Wine-Design Fair. There are also eforts
underway to improve libraries and strengthen arts
development organisations.
The city-region has also developed a number of
creative and cultural precincts neighbourhoods
with a mix of residential, retail and ofce
developments which act as hubs for the incubation,
production and consumption of creative and cultural
goods and services. These precincts Newtown,
Maboneng, Auckland Park, and Juta Street are
perhaps the best-known involve a mix of public
and private investment and bring together informal
and formal culture, embodying some of the most
dynamic aspects of Johannesburgs culture.
In some sectors, such as music, dance and lm,
a Nollywood model of production is emerging,
based on low-cost but large-scale production, aimed
primarily at a domestic (or Africa-wide) audience.
(Nollywood is the nickname for the Nigerian lm
industry, which pioneered this model.) As Africa
grows richer, such models have the potential to
create distinctively African forms of mass culture.
The economic value of these industries is increasingly
being recognised in Johannesburg, a city which
sufers from high rates of under-employment and
unemployment.
Much attention has been given to research and
policymaking in Johannesburg and Gauteng over
the last decade. One of the results of this has been
an ambitious and ongoing programme of public
art development in the Johannesburg Metro based
on a percent for art model. Another area that has
received major attention is creative and cultural
69
London is a city that combines a sense of history with
cutting-edge creativity and a dynamic pop culture.
As one of the most cosmopolitan and tolerant capitals
in the world today, it attracts a genuine diversity
of people from radical activists to business leaders,
intellectuals to fashionistas.
The city was already emerging as an international
centre of trade and commerce 400 years ago. Its
power only grew over the following centuries, as
it became an imperial capital with the establishment
of the British Empire, before the Industrial Revolution
further fuelled its growth in the nineteenth century.
This led to London becoming the worlds largest city
by population by 1900, with 6.7 million residents.
The twentieth century was a period of dramatic
change for the city. Two world wars the second
of which saw London repeatedly bombed the loss
of Empire, mass immigration, and the emergence of
the City as a global centre of nance have transformed
the capital. London is now one of the most connected
and diverse cities on the planet and is a key node
in global nance and commercial networks. These
global links help make London an outward-looking city,
and are increasingly seen as a source of creative ideas
and energy: Londons excellent art and design schools,
for instance, have attracted a wave of foreign talent,
many of whom have chosen to stay.
In culture too London is a powerhouse. From
Shakespeares time it has been perhaps the worlds most
important city for theatre, while its great writers, from
Chaucer to Johnson to Dickens, have helped shape
the development of new literary forms. The city is now
a major centre for a host of other art forms, including
music, dance and art, while its leading museums and
galleries are among the most visited in the world.
For London, the challenge will be maintaining
its status as a leading player in global culture at
a time when Britain must compete economically with
emerging nations, and there are reductions in public
subsidy for the arts. The opportunity, conversely,
is for culture and the creative industries to make
London a more attractive place to live, work, invest
in, and visit, supporting growth more generally.
Culture is strongly supported in the city: the Mayor
of Londons Cultural Strategy says that arts and culture
are fundamental hallmarks of a civilised society and
all governments have a responsibility to invest in and
support them for the common good of their citizens.
Opinion poll evidence also suggests that Londoners
value their citys cultural life highly.
The 2012 Games should help to reinforce
Londoners pride in their citys culture. Londons
original bid promised the biggest ever Cultural
London
Greater London
Geographical area: 1,572 sq. km
Total population: 7,825,200
Percentage of total national population living
in the city: 12.6%
Education level percentage with degree
level or higher: 41.9%
GDP per capita in 2008 (PPP): US$65,800
Percentage creative industries employment:
12%
opposite: Shakespeares Globe theatre (interior), London
Photo: John Tramper
71 70
the Whitechapel Gallery, the British Film Institute,
the Roundhouse, the Circus Space in Hoxton and
the O2 (formerly the Millennium Dome). Some
ambitious schemes are still underway, such as further
extensions at the British Museum, Tate Modern and the
refurbishment of Tate Britain. There is also an increasing
focus on improvements to the built environment around
major sites. Exhibition Road, the home of three national
museums, has recently undergone a major redesign to
create a much more pedestrian-friendly location and
improve visitors experiences.
Over the last 20 years, the publicly funded sector
has also diversied its sources of income, developing
a healthy commercial instinct and ability to raise funds,
which enables it to be more resilient than counterparts
in other cities.
Informal street culture also continues to be
a major source of strength. The last decade has seen
a growth in festivals, carnivals and fairs. Examples
include music festivals such as the Wireless festival
in Hyde Park, Lovebox in Victoria Park, the Mayors
Thames Festival and the Greenwich and Docklands
International Festival. These have added to long-
established celebrations, notably the Notting Hill
Carnival, now thought to be Europes biggest such
event, and New Years Eve, which has been given
a new focal point at the London Eye.
Commercially oriented art fairs have also emerged
in recent years, including the Frieze Art Fair, which has
become a major stop on the worlds visual art circuit,
and Collect, which has quickly become a globally
signicant event for high-end craf. Art projects
in the public realm, like the temporary commissions
on the Fourth Plinth in Trafalgar Square have also
signicantly grown in importance.
Other strengths of the city include the high quality
of design, art and fashion schools: the London Design
Festival celebrates its tenth anniversary in 2012 and
the model has been copied elsewhere, while London
Fashion Week is part of the international fashion
calendar alongside Paris, New York and Milan. The size
and commercial dynamism of its creative industries
(lm production, inward investment and box ofce
all broke the 1 billion barrier for the rst time in
2011) and its dense, heavily-used public transport
infrastructure, which is currently being upgraded,
are equally strengths the city can draw on. There is
also a strong concern to continually champion cultural
education and the importance of home-grown talent.
Further areas for development include maximising the
potential of cultural tourism, and developing a more
balanced cultural ofer and participation across the
whole of London, rather than just in the central zone.
A nal, immensely signicant strength is Londons
diversity and youthful energy. The sheer number of
cultures in London perhaps gives it a diferent feel
from other cities more free, more tolerant, more
relaxed about diference, and more accepting of
failure (which according to Jimmy Wales, the founder
of Wikipedia and now a London resident, is essential
for innovation). The Mayor of London recognises
the value of this diversity and energy, and has
a programme in place to support festivals such
as Chinese New Year, St Patricks Day, and Vaisakhi,
as well as new initiatives such as Shubbak, a festival
of contemporary Arab culture.
Culture, then, adds to Londons social and
economic dynamism and can also address wider
challenges in society. It can reinforce the citys appeal
to global talent while maintaining the citys appeal
to tourists and residents alike.
Greater London Authority: www.london.gov.uk
London & Partners: www.londonandpartners.com
Olympiad, and as the Games approach, the Olympiad
will reach its climax with the London 2012 Festival,
a ten-week cultural celebration. The festival will
act both as a showcase for London talent and as an
opportunity to bring many international artists to the
city. The Games will also leave a signicant cultural
legacy, notably the Queen Elizabeth Olympic Park,
which will be one of the largest new urban parks in
Europe for many years and will become a major new
venue for events and festivals, and Anish Kapoors
major new sculpture, the ArcelorMittal Orbit at the
centre of the Olympic Park, which has the potential
to become a new visitor attraction.
Nevertheless, the citys cultural institutions
will face a tougher time afer the Games. Economic
problems may afect the demand for cultural products
and services. In this climate, what are the citys
strengths?
There are several. Critical mass is one. As the data
tables suggest, London has a huge stock of cultural
assets, and eforts continue to strengthen that cultural
legacy. Thanks to both National Lottery funding and
private sector support, a range of major venues have
either been built or refurbished in the last 1015 years.
These include the Great Court of the British Museum,
the Royal Opera House, Tate Modern, Kings Place,
Powerless Structures, Fig.101 2012 by Elmgreen and Dragset, for the Mayor of Londons Fourth Plinth Programme
Photo: James OJenkins
73
Mumbais journey to becoming one of the worlds
great cities began under colonial rule. Afer more than
a century under the Portuguese, the islands on which
the city stood were transferred to the British in 1668,
and then leased to the British East India Company,
who moved their headquarters there some 20 years
later. The citys status as a commercial hub was thus
established early, and underpinned its subsequent
development. Its port became one of the most
important in the region, and traders from across the
sub-continent were drawn to live and work there. The
city continued to expand afer Indian independence
and is the largest in the country. It was renamed
Mumbai in 1996.
While Mumbais foreign-born population remains
relatively small by the standards of other world cities,
it is nevertheless a very diverse city, having drawn
people of many ethnicities and religions from all over
India. This diversity and resultant mixing of ideas is
Mumbai
Municipal Corporation of
Greater Mumbai
Geographical area: 437.1 sq. km
Total population: 12,432,830
Percentage of total national population living
in the city: 1%
Education level percentage with degree
level or higher: N/A
GDP per capita in 2008 (PPP): US$10,800
Percentage creative industries employment:
16%
opposite: An evening view at Marine Drive, Mumbai
Courtesy of Abdul Shaban, Tata Institute of Social Sciences
credited with being the spark for Bollywood the
Hindi lm industry which is centred on Mumbai, and
is one of the largest in the world. Mumbai is also the
leading centre of the Marathi lm industry. Bollywood
grew out of an idiosyncratic mix of factors in Mumbai
the presence of Parsi entrepreneurs, the legacy of
Parsi theatre, the availability of capital in the city, and
its multicultural ethos, among other things. Bollywood
has played an important role in establishing a cultural
identity for India, as well as building links between
India and its various diasporas. It also has strong
links with other creative industries, and helps explain
Mumbais position as the home of the headquarters of
most of Indias major television and satellite networks,
as well as its major publishing houses.
Bollywood shows what is possible in Mumbai. In
the beginning it was almost a cottage industry, unable
to efectively reap economies of scale and was dogged
by rumours of links with organised crime. Since the
late 1990s, however, the situation has changed due to
the growth in the overseas market for Bollywood lms
and the opening-up of Indias economy. Considerable
investment has begun to ow from Mumbais telecom,
sofware and media industries into Bollywood. This
is reected in the returns seen by the industry the
revenue from Bollywood lms has grown by 360 per
cent from 1985 to 2005.
The city also has other cultural strengths. Design,
embroidery, and the gems and jewellery sector are
all strong, and there is a huge (if low-prole) industry
drawing on traditional craf skills. However, there are
also weaknesses in the citys arts and entertainment
ofer. There is a low level of interest in the citys
75
museums; the potential of heritage buildings is being
underplayed, and the performing arts are relatively
neglected. Entertainment could also be strengthened:
there is no Bollywood museum, for instance, and
the citys traditional religious festivals could be
marketed better. Indeed, Mumbais share of Indias
tourism is declining the city is increasingly seen as
a gateway to the country rather than as a destination
in its own right.
Despite the success of Bollywood, and Mumbai
having many of the ingredients of a world city,
the city has struggled so far to achieve a comparable
cultural impact (outside the lm industry). Partly this
is due to the low prole of the creative and cultural
sector in the city many of the statistics collected for
this report, for instance, had to be gathered through
primary research but it also reects the low priority
government has attached to the creative and cultural
sector in Mumbai.
With its large, young, dynamic and multicultural
population in one of the worlds fastest-growing
economies, Mumbai ought to be well-placed to
build a strong creative and cultural sector to ofer
development and tourist opportunities for the city.
Indeed, recent research has suggested the creative
industries are already a major source of employment
in the city. For this to happen, though, government
needs to understand the sector and its potential
better, and be more willing to provide it with strategic
support.
opposite: Gateway of India, Mumbai
Courtesy of Abdul Shaban, Tata Institute of Social Sciences
77
New York has long tied its rising power and economic
success to investments in arts and culture. In its
early nineteenth century aspirations to rival Boston,
and later the great cities of Europe, New Yorks
cultural life has been seen as a symbol of the
citys wider vitality. From Carnegie Hall to MoMA,
public-private partnerships linking civic ambition and
wealthy philanthropists have endowed the city with
world-class non-prot cultural institutions. Allied to
this, New Yorks hugely dynamic cultural scene nds
expression in everything from Broadway theatre to hip
hop. The city is also a giant commercial marketplace
for art and creative industries, from art auctions
to fashion, design and advertising.
This creative energy is not just found in
Manhattan. The uid association of creative activity
with particular neighbourhoods has served to dene
and redene parts of the city. From Greenwich Village
in the 1950s and 60s to SoHo and TriBeCa in the
1970s and 80s to Williamsburg and Dumbo in the
2000s, New Yorks creativity shifs and re-forms from
place to place. This process continues; the presence
of artists is currently helping to revive Bushwick,
Brooklyn; Long Island City, Queens; Mott Haven
in the Bronx; and St. George, Staten Island.
This uidity is partly driven by the citys enormous
diversity. New York has been one of the primary
gateways to America for immigrants for centuries,
and it continues to have a huge foreign-born
population currently 37 per cent of the total
who bring their own cultures to add to the citys mix.
Residents and visitors alike are ofered everything
from Chinese opera to Czech marionette theatre
to Bomba dance classes.
Cultures role in economic development is a priority
for the city. This includes both its direct employment
efects and its indirect efects. New York believes
that the presence of artists and cultural organisations
attracts other businesses who are looking for creative
workers; students who want to experience the unique
opportunities New York ofers; and tourists from
around the world. The number of tourists has risen
by 30 per cent in the last decade, with international
tourists particularly attracted by the citys cultural
oferings.
While New Yorks position is an enviable one,
it faces challenges. At a time of global economic
pressures, sustaining a sector whose benets can
be hard to quantify becomes increasingly difcult.
So, how can the city maximise the value of its cultural
strengths? What is perhaps most striking about the
approach of local government to supporting culture
is its clear understanding of the interconnectedness
New York City
Geographical area: 1,214.40 sq. km
Total population: 8,175,133
Percentage of total national population living
in the city: 2.6%
Education level percentage with degree
level or higher: 33.3%
GDP per capita in 2008 (PPP): US$73,300
Percentage creative industries employment:
8%
New York
opposite: Times Square at Night, New York
Photo: Jen Davis, Courtesy of NYC Department of Cultural Afairs
79 78
of diferent forms and scales of cultural activity, and
its willingness to cross the boundaries between prot
and non-prot organisations. The commentator
John Howkins has called this idea a creative ecology,
an ecosystem in which many of the elements are
interdependent.
New York continues to make substantial
investments in upgrading its creative ecology. It has
recognised that a thriving culture is not built solely
on a handful of world-class institutions. To that end,
roughly half of the City of New Yorks cultural grants
go to small organisations. Government also manages
a robust portfolio of capital projects. From a new
home for jazz at Lincoln Center, to major expansions
of the Museum of Chinese in the Americas and the
Brooklyn Childrens Museum, to energy-efcient
greenhouses at the New York Botanical Garden,
these projects ofen involve world-class architects
and always leverage private funding. In addition,
New York City encourages and supports high-prole
public art projects like The Gates, by Cristo and
Jeanne Claude and The New York City Waterfalls
by Olafur Eliasson. These are all seen as strategic
investments, not only strengthening New Yorks
cultural sector, but also burnishing the citys identity
and improving its quality of life.
The non-prot cultural sector has responded
well so far to the challenges and opportunities
posed by technology. Initiatives like the Metropolitan
Operas pioneering use of HD video to live stream
performances have increased audience interest
and attendance, and many arts organisations are
successfully using social media to market their
programmes and increase access.
Government support for commercial creative
activity takes a number of forms. NYC & Company,
the citys tourist and visitor agency, has a number
of marketing schemes including both commercial
and non-prot cultural oferings. At a neighbourhood
level, entities such as the Downtown Brooklyn
Partnership, and the Upper Manhattan Empowerment
Zone, serving Harlem, help support the cultural
resurgence in their communities. In the last decade,
using a combination of tax incentives and marketing,
the Mayors Ofce of Media and Entertainment,
has catalysed an exponential increase in local lm
and television production. Recent initiatives to attract
technology companies build on and reinforce the
citys pool of innovative talent.
New York, then, seems well-placed to sustain
its present position. In a globalised world where
pre-eminence in any eld can no longer be taken for
granted, New Yorks combination of economic power,
openness to ideas and immigrants, spaces in which
up-and-coming artists can establish a foothold, and
world-class cultural assets will ensure it remains one
of the worlds most culturally exciting cities.
New York City Department of Cultural Afairs:
www.nyc.gov/culture
New York City The Ofcial Guide: http://nycgo.com
The New York City Waterfalls by Olafur Eliasson (Brooklyn Bridge at night)
Photo: Julienne Schaer, courtesy of NYC Department of Cultural Afairs
81
Paris has survived sieges, plague, wars, revolution
and occupation to become one of the worlds great
centres of cultural life. In literature, music, cinema
and, perhaps most of all, visual art, the citys residents
have made huge contributions to cultural innovation.
As the data shows, Parisians are also great consumers
of culture, supporting a wide range of venues. In
its post-colonial phase, the city has also become
strikingly diverse and multiracial, opening up further
possibilities for innovation and mixing.
Paris is recognised throughout the world as
a centre of creative excellence, famous for its
art de vivre. Its cafs, bars, art house cinemas,
fringe theatre, second-hand bookstalls and beautiful
streetscapes are a huge draw for tourists the Louvre
is the worlds most visited museum, for instance.
Creative industries constitute a strategic sector for
the Paris region (providing nine per cent of total
jobs) and make a big contribution to its international
appeal. Since 2005, Ile-de-Frances regional economic
strategy has identied the cultural and creative
industries as a priority area for economic development
(this reports Paris data refers to the administrative
region of the Ile-de-France).
The French government is committed to
activist policies in this area, through legislation and
regulation related to the French cultural exception.
This system of subsidies aims to maintain a strong
cultural ofer and reduce inequalities in access to
culture. Paris has a strong commitment to cultural
diversity and the independent production and
distribution of cultural goods (for example, French
lms account for 50 per cent of the 600 lms
released in cinemas across the country per year).
However, parts of the creative sector, from
bookshops to lmmakers, remain under pressure
from changing business models, especially the rise
of digital (though as the data shows, Paris starts
from a very high baseline in most respects).
The reality of central Paris its high rents,
and protected architecture and heritage sites
make developing creative and cultural industries
and activities there difcult, despite the tourist
presence providing millions of potential customers.
However, artists still want to be in touch with the
city centres energy and wealth. Many of the most
interesting eforts to encourage creativity in the
city are therefore taking place in peripheral districts
of Paris.
Two examples help to illustrate this trend. Under
the aegis of the Greater Paris of Culture project, the
European City of Cinema will be set up in a disused
power station in Saint-Denis, at the heart of the
Paris
Ile-de-France
Geographical area: 12,012 sq. km
Total population: 11,797,021
Percentage of total national population living
in the city: 18.8%
Education level percentage with degree
level or higher: 35.8%
GDP per capita in 2008 (PPP): US$56,900
Percentage creative industries employment:
8.8%
opposite: Gay Pride Parade, Place de la Bastille, Paris
Photo: Alfred/SipaPress/CRT IdF
83
creative cluster known as the Territoire de la cration.
La Cit du Cinma is the brainchild of French lm
director Luc Besson. Due to open in September 2012,
it will provide a comprehensive support service for
lm production, giving an AZ of lm production
on one site.
The second example is Le Centquatre (104).
This building in the multicultural but poor 19th
arrondissement used to house a state funeral parlour,
but is now home to a mix of spaces and to a range
of artists, who are given studios in the building for
several months in return for allowing the public to
see their works in progress. The aim is to engage
the public with the processes of cultural production
(and in some cases to allow them to contribute to
those processes). It welcomes all areas of the arts:
theatre, dance, music, cinema and video, as well
as the culinary, digital, and urban arts, and hosts
an incubator.
New fringe art forms are another source of fresh
energy. The regions cultural policy has tried to nd
ways to give such forms a more institutional status.
Launched by the City of Paris in November 2010,
La Gat Lyrique is a new cultural institution dedicated
to all forms of digital and urban culture. Located in
a 150 year-old building in the heart of Paris, the venue
combines heritage and architecture: it aims to create
a building where the amenities constitute a toolbox
for artists who wish to make use of it. It emphasises
contemporary Parisian art de vivre through its
design and cutting edge equipment, which include
a resources centre, a caf, programmes and artistic
productions, and new technologies for the use
of artists.
The future of Paris creative life would seem to
rely on nding an accommodation between the new
and the old in such ways. While its heritage culture
remains a big attraction for tourists, there is a danger
of the city centre becoming an open-air museum.
Countering this by developing innovative platforms
for new art forms and technologies, as well as
encouraging cross-sector collaboration, makes
the reality of the citys vibrant culture more visible,
and represents a way for culture to move forward
in the city.
Institut dAmnagement et dUrbanisme
Ile-de-France, Creative Economy Studies:
www.iau-idf.fr/nos-etudes/sous-theme/
economie-creative.html
Mairie de Paris: www.paris.fr
Rgion Ile-de-France: www.iledefrance.fr
opposite: Basilique du Sacre Cur, Paris Photo: W. Alix/SIPA PRESS/CRT PIdF
Metropolitan Paris has its own unique spirit,
a French touch which is increasingly recognised
whether in design, fashion, music, cinema, animation,
special effects or the visual arts.
Paris
85
Shanghai has emerged from its turbulent twentieth
century of war, occupation and revolution as
mainland Chinas largest city and commercial capital.
Its size, relative wealth and position as a major port
have long made it one of the most cosmopolitan of
Chinese cities. Once known as the Paris of the East,
it was home to as many as 70,000 foreigners in
the early 1930s, and tens of thousands of Jewish
refugees passed through the city in the years
that followed.
As China moves inexorably towards becoming
the planets largest economy, Shanghai is seeking to
re-establish itself as a world city. The city has become
arguably the most vibrant and cosmopolitan place
in China during the countrys modernisation phase.
As part of the industrial and social transformation
of China, Shanghai has adopted a Four Centers
Strategy, which aims to develop the city as a centre
of international excellence in nance, trade, shipping
and general economics. Shanghai has also recognised
that raising the prole of culture will be a necessary
step in achieving world city status.
By Chinese standards, Shanghai is an open and
diverse city, able to draw on both European and
American inuences. Nevertheless, the legacy of the
past century means that Shanghai has much catching
up to do if it is to compare with the likes of New York,
Tokyo, and London. It also faces competition from
other Chinese cities, notably Beijing and Hong Kong.
Shanghai has therefore started on an ambitious
programme of cultural development; what has been
described as a post-Expo phase of development.
The 2010 World Expo held in Shanghai was
something of a watershed for the city its equivalent
of Beijings Olympic Games. The post-Expo cultural
strategy of Shanghai aims to make the city a cultural
metropolis by 2020. The ambition, known as a
1122 initiative, is to establish the city as a centre
for creative design, for international cultural exchange
and international fashion, and as a hub of modern
cultural industry and creative talent. It is hoped
that by 2020, Shanghai will be a city with enhanced
cultural sof power and an increasing international
inuence.
The city is taking many practical steps to deliver
this strategy. Firstly, it is developing a series of new
public cultural facilities. These include the Palace of
Chinese Arts, Shanghai Contemporary Arts Museum,
Shanghai Expo Museum and Shanghai Childrens Art
Theatre. Secondly, a theatrical performing arts cluster
is to be planned and constructed by restructuring
the layout of Peoples Square and the Tibet Road area.
Thirdly, it aims to promote and upgrade the cultural
Shanghai
Shanghai Municipal District
Geographical area: 6340.5 sq. km
Total population: 23,474,600
Percentage of total national population living
in the city: 1.7%
Education level percentage with degree
level or higher: 42.9%
GDP per capita in 2008 (PPP): US$15,300
Percentage creative industries employment:
7.4%
opposite: Pudong at Night, Shanghai Courtesy of Shanghai Theatre Academy
87
facilities in western Hongqiao region, so as to build
a dance performing arts cluster and the Hongqiao
International Dance Center.
Shanghai is also planning a number of other
initiatives. In particular, it plans to build up its
festivals and events programme further. It also
intends to establish policies on talent development,
and is launching a number of major projects in
partnership with Western commercial creative
organisations, such as Shanghai Disneyland and
Oriental DreamWorks.
There are also changes underway in the structure
of cultural organisations. Former state-owned
cultural enterprises are being transformed into
a market-oriented corporate system. This in part
reects a belief that the convergence of creativity
and technology is creating major new opportunities
for the citys cultural and creative industries, where
SMEs and micro enterprises are playing an increasingly
important role.
This is perhaps indicative of a greater willingness
to blur the boundaries between subsidised and
commercial culture in Shanghai than in many of the
other world cities. Culture and creativitys contribution
to innovation-led growth is a priority; as the city
says, culture not only reects the sof power of
a city, but also determines its creative vitality. This
notion has underpinned the development of more
than 100 creative industries clusters in the city.
These include 1933, a giant former abattoir and
factory which mixes commercial creative industries
with ofces, high-end retail and food; and the M50
art cluster, based in a former textile mill and now
home to more than 120 galleries and studios.
Shanghai, with its highly planned approach and
emphasis on the social and economic contribution
of culture to development, is thus taking a somewhat
diferent approach from that of Western world cities.
This in part reects its distinct political structures
and perceptions of the role of culture: Shanghai
says that culture is an important source of national
cohesion. In Western world cities, much of the
creative energy comes from a young and diverse
population and from fringe art forms. Shanghais
population, by contrast, is ageing fast (driven by
a very low birth rate) and does not score highly on
some measures of diversity, such as the number of
foreign students or the percentage of foreign-born
people living in the city. Furthermore, while the
city states that the participation of everyone and
access to everyone is a cultural goal, participation
rates are relatively low at the moment. If Shanghai
is to achieve its ambition of becoming a cultural
powerhouse it will have to nd ways to reconcile its
planning-driven approach with the need to allow new
forms of cultural activity the intellectual and physical
space to develop and nd their audience.
Shanghai Municipal Administration of Culture,
Radio, Film & TV: http://wgj.sh.gov.cn
Shanghai Information Service Platform for Cultural
and Creative Industries: http://shcci.eastday.com
Shanghai Theatre Academy: www.sta.edu.cn
opposite: Shanghai Fashion
Photo: Wuzheshenghua, courtesy of Shanghai Theatre Academy
89
Sydneys cultural life is a blend of the formal and
iconic, represented by its major cultural institutions
and the informal, sometimes gritty and challenging
activities of its artists and creative communities. Its
natural beauty and climate shape Sydneys thriving,
distinctive and sometimes surprising cultural life.
Sydney began as a community of strangers
with wildly varying backgrounds and skills, brought
together through adverse circumstances. With a third
of the citys community being foreign-born and many
more second-generation migrants, contemporary life
in Sydney reects this diversity of experiences and
cultures. While most evident in its multiculturalism,
this can be seen in other areas of the citys life as well,
including its role as a gay and lesbian capital.
Much of the vitality of Sydneys cultural life is
shaped by its climate and ofen spectacular natural
setting. Focused on the Sydney Harbour Bridge,
Sydney New Years Eve is the largest and most globally
recognisable New Year celebration in the world, while
many of Sydneys most successful events, such
as Sydney Festival, Tropfest, Sculpture by the Sea,
Sydney Gay and Lesbian Mardi Gras and Biennale
of Sydney are held wholly or partly outdoors, taking
full advantage of these idyllic conditions.
Chinese New Year in Sydney is the largest
in the world outside of East and South East Asia,
and, along with Parramasala, Sydneys celebration of
South Asian arts and culture, demonstrates Sydneys
diverse community and role as a cultural driver within
the Asia-Pacic region. As well as major events and
infrastructure, the everyday cultural experience of
the city includes permanent and temporary public art
works, unexpected events and a subtle balance of ne
grain activities, reecting a layering of cultural texture
in the daily life of Sydney.
Australian author David Malouf notes that when
we think of other places what comes rst to our mind
as characterising their contribution to the world
their identity or style is the arts they have produced:
books, paintings, lms, their orchestras and opera
companies, their galleries, their music. A rich and
vital cultural life for any city requires an ecosystem
of artists, community and cultural organisations
working at diferent scales from the small scale
fringe to artists performing or showing internationally.
Sydneys diverse cultural ecosystem is another area
in which it reinforces its idiosyncratic character and
identity as a city of many cultural forms.
The Sydney Opera House, the Sydney Theatre
Company, the Sydney Symphony Orchestra, Belvoir,
and the Bangarra Dance Theatre together with many
Sydney based artists, performers and writers are now
Sydney
Metropolitan Region of Sydney
Geographical area: 12,144.50 sq. km
Total population: 4,575,532
Percentage of total national population living
in the city: 20.5%
Education level percentage with degree
level or higher: 35%
GDP per capita in 2008 (PPP): US$48,900
Percentage creative industries employment:
5.3%
opposite: Vivid Opera House, Sydney
Photo: Paul Patterson, courtesy of City of Sydney
91
internationally celebrated. However, the culture of
Sydney is also notable for the integral role that fringe
and informal culture plays in it. This can be seen in
its thriving live music scene, which includes both large
venues and many smaller ones that focus on young
or up-and-coming musicians. This fringe vibrancy is
also evident in cultural forms such as cabaret, comedy,
pop up events, short lms, artist run initiatives
and collectives, independent dance and theatre
groups and the increasingly popular ideas and talks
programmes, all of which have diferent entry points
to participation and opportunities for the community
to take part. Even the citys large scale and
internationally recognised events are powered by the
creative eforts of hundreds of artists and performers.
This accessibility is perhaps best seen in Sydneys
signicant independent performing, visual and
interdisciplinary arts scenes. Ofen artist-run, this
cultural activity is noticeably democratic and provides
afordable performance or exhibition opportunities, as
well as opportunities for involvement in other areas of
cultural activity, such as marketing, writing, curating,
lighting, sound design or set design. The strength
of Sydneys arts participation is also found in the
signicant growth of artisan markets, demonstrating
the citys renewed interest in handmade products.
This trend, supported by digital delivery channels
like Etsy and increased demand for semi-professional
arts training, points to this growth in active cultural
participation by non-professional or semi-professional
creative producers and shows that new relationships
are being forged between artists and their audience
unmediated by third parties.
Sydney recently became the home of the Federal
Governments Creative Industries Innovation Centre,
in recognition of the contribution of the creative
industries to Australias GDP (a comparable share
to that of the United States, Canada and France).
Sydney is home to the largest population of creative
workers in Australia, and a number of vibrant creative
precincts and clusters have emerged in recent years.
Supporting this sector within the workforce will be
a focus of govern ment authorities in the coming years,
as the importance of the creative industries grows
and integrates with more traditional business structures
and networks.
In the coming years the cultural landscape of
Sydney will change again. Signicant large-scale urban
development sites in and around the city including
Barangaroo, Darling Harbour, Walsh Bay, Green Square
and the Blue Mountains will see the development
of a number of world-class arts and cultural facilities,
giving rise to opportunities for the city to embed
cultural infrastructure and activity into its design.
Increasing recognition and celebration of Aboriginal
and Torres Strait Islander heritage and contemporary
culture is planned, while physical and metaphorical
connections between once isolated cultural institutions,
such as the Sydney Opera House, the Powerhouse
Museum, the Museum of Contemporary Art, the
Maritime Museum, the Sydney Theatre, Sydney
Observatory, and the Art Gallery of NSW will be made.
Although there is much to be found in Sydneys
cultural ecology, a number of factors that have
contributed to its cultural lifestyle the citys natural
beauty, relaxed lifestyle and Australias buoyant economy
also afect the availability of space for up-and-coming
artists and cultural producers to rehearse, perform,
live or work. The challenges of afordability of space;
nancial sustainability and growing organisational
capacity will be key to the city in coming years.
City of Sydney: www.cityofsydney.nsw.gov.au
Arts New South Wales: www.arts.nsw.gov.au
opposite: Angel Place Bird Cages, Sydney
Photo: Paul Patterson, courtesy of City of Sydney
93
While Tokyo has been Japans most important city
for almost 500 years, its rise to world city status was
driven by its remarkable recovery from the ashes of
the Second World War. Japanese companies and their
famously hard-working staf were responsible for an
economic miracle that by the end of the 1980s had
turned Japan into one of the worlds richest nations.
This rise had its echoes in culture, too. Elements
of Japanese popular culture, from karaoke to manga
comics and sushi bars spread across the globe, while
creative products like the Sony Walkman shaped the
way the world experienced culture. Japanese artists,
whether they were lmmakers like Yasujiro Ozu and
Akira Kurosawa or fashion designers like Issey Miyake
and Rei Kawakubo, achieved worldwide reputations
for the originality and quality of their work. Yet Tokyo
remains diferent from other world cities. It has never
been a draw for tourists on the scale of Paris or New
York, and it has never had the levels of ethnic diversity
or the number of foreign students of a London or
Sydney. However, Tokyo has developed a distinctive
diversity of its own that takes unexpectedly various
forms. Because of its depth, Tokyos culture can
be hard for tourists and even for the citys residents
to fully grasp.
The long period of economic stagnation since
the early 1990s has led to a relative decline in
Tokyos world city status, while the rise of other
major cities in its region, such as Shanghai and Seoul,
is increasing competition. The tragedy of the Great
East Japan Earthquake in 2011 has also been a trigger
for re-assessing societys priorities. There is now
a growing sense that culture will play an important
part in Tokyos reinvention of itself in response to
these challenges; what some commentators have
called a new paradigm.
What, then, are Tokyos particular strengths? One
answer lies in the multiple meanings of the Japanese
word bunka (culture): artistic production, but also
lifestyle, quality of life, and wellbeing. Tokyo people
do not see culture as separate or not for them: as the
city puts it, common citizens have historically been
very involved in a rich variety of artistic and cultural
activities. The culture of Tokyo is marked by reciprocal
communication and an exceptional level of equality in
cultural participation. There has long been a blurring
of the boundaries between consumers and creators,
and between what Westerners sometimes call high
and pop culture. In this way, what distinguishes Tokyo
culture is the active role that ordinary citizens play
as independent actors in cultural activities. There is
a cultural element in the lives of many citizens, which
forms a rich foundation for Tokyos wider culture.
Tokyo
Tokyo Metropolis (Tokyo prefecture)
Geographical area: 2,130 sq. km
Total population: 13,159,388
Percentage of total national population living
in the city: 10.3%
Education level percentage with degree
level or higher: 25.5%
GDP per capita in 2008 (PPP): US$41,300
Percentage creative industries employment:
11.2%
opposite: Courtesy of Tokyo Metropolitan Government
95
A second great strength of the city is its seamless
continuity of tradition and modernity. In Tokyo,
the traditional and the modern are linked not only
spatially but temporally as well. Many foreigners
see the city as an ultra-modern city of skyscrapers,
cutting-edge fashion and design and high-technology.
Yet the city remains the most important centre for
traditional Japanese culture, having preserved its
many traditional cultural forms, from ancient shrines
and temples to Noh and Kabuki theatres and rakugo
performances. Tokyo has several major venues
for such art, including the Kabuki-za Theatre, the
National Noh Theatre and the Kokugikan Hall in
Ryogoku. It is also home to more traditional artisans
than any other Japanese city. This concentration of
traditional culture is a source of techniques, values,
and inspiration for contemporary cultural workers
in elds like design and architecture.
The more obviously modern aspects of Tokyos
culture can be seen in the citys various districts. Areas
like Roppongi, Akihabara, Harajuku and Shibuya each
have their own distinct culture the city is keen to
cultivate these. Although Tokyo is not a multicultural
city in the Western sense, it is open to ideas and
culture from abroad, adapting them for its own
purposes. This is apparent in Tokyos cuisine which
has absorbed and adapted foreign inuences on its
way to becoming (according to Michelin) the worlds
best city for high-class restaurants.
Tokyo recognises the need to improve its cultural
ofer through a programme of strategic investment. It
believes it is essential to cultivate its human resources
through supporting cultural facilities and programmes.
The Tokyo Council for the Arts has been sustaining a
mid- to long-term cultural policy to provide improved
funding and support for the arts, and so to provide
a platform for introducing and cultivating new talent.
For this reason, Tokyo is keen to upgrade its existing
cultural facilities, as well as developing newer ones,
such as the Tokyo Wonder Site, to create centres
for new art (and artists). The city is also supporting
new festivals and projects, which provide a stage
for the cultivation of human resources by expanding
opportunities for artists and arts administrators to
enrich their experiences. In 2008, the city launched
the Tokyo Culture Creation Project, which includes
FESTIVAL/TOKYO, Roppongi Art Night, and Yebisu
International Festival for Art & Alternative Visions.
One of the most notable programmes is the Tokyo
Artpoint Project, which serves as a unique mechanism
for forming regional cultural centres and promoting
civic participation in creative endeavours.
Tokyo hopes to be able to demonstrate the
fruits of this investment, and the new thinking that
underpins it, to the world in 2020, as it is preparing
a bid for that years Olympic and Paralympic Games.
If this is successful, it will generate numerous
opportunities for the city to forge new ties between
people and to facilitate creative production, while
absorbing a diverse set of values from around the
world. It will also demonstrate the ways in which
the citys distinctive cultures express themselves.
The Olympic and Paralympic Games thus have
the potential to further stimulate Tokyos culture
of impartiality, interactivity, and tolerance, giving
rise to an even deeper, more vibrant, dynamic, and
diverse culture.
Tokyo Metropolitan Government:
www.metro.tokyo.jp/ENGLISH/index.htm
Tokyo Metropolitan Foundation for History and
Culture: www.rekibun.or.jp/english/index.html
Tokyo Culture Creation Project:
www.bh-project.jp/index_e.html
opposite: Courtesy of Tokyo Metropolitan Government
97
The World Cities Culture Report 2012 builds on
the work of an earlier research report, London:
A Cultural Audit (2008). That report surveyed ve
cities: London, New York, Paris, Shanghai and Tokyo.
The World Cities Culture Report 2012 adds seven
other cities to this list.
The world (or global) cities concept described
by the likes of Saskia Sassen or the Globalisation
and World Cities group at Loughborough University
has tended to focus on the role of cities in the worlds
economic and nancial system. Following that logic,
a set of objective criteria such as economic wealth and
population gures was used to determine the global
importance of a particular city (and hence to justify
its inclusion in this cultural benchmarking research)
as a way of narrowing down the potential candidates.
An initial selection framework divided the world
into geographic regions. For each region the largest
economy (GDP by purchasing power parity) was
identied, before selecting that economys largest
city. This gives the list shown in Figure 8.
Figure 8. Choice of world cities
Geographic region Largest economy (GDP by PPP) Largest city
Europe Germany Berlin
West Asia Turkey Istanbul
South Asia India Mumbai
2

East Asia China Shanghai
North America United States New York
Latin America and Caribbean Brazil So Paulo
Africa South Africa Johannesburg
Oceania Australia Sydney
Source: BOP Consulting (2012)
2. Mumbai and Delhi have similar populations by many
measures. According to the Indian Census 2011, Mumbai is
the largest municipality and Greater Mumbai is the largest urban
agglomeration in the country, but Delhi has a larger population
when the wider metropolitan area is considered.
Appendix 1:
Choice of world cities
98
Appendix 2:
Data tables
This initial selection process identied key world
cities, in terms of global economic importance. These
cities were combined with the original list of ve, all
of which are major economic players and the largest
in their country too.
The twelfh and nal city was chosen through
a similar process. While a number of other cities, such
as Moscow, Toronto or Milan, were considered, all
of which are the largest cities of powerful economies,
the authors decided to choose a South East Asian city
as twelfh comparator. This region of the world did
not have a representative among the 11, but is a rising
force in the world economy. Strictly speaking, the
above criteria would have led to Jakarta, the largest
city in the regions biggest economy, Indonesia.
However, the city-state of Singapore was chosen
instead. This decision was based on a combination
of factors: the city-states relative economic
importance (although it has only ve million people,
compared with Indonesias 240 million, its GDP is
around 30 per cent of Indonesias) and its importance
as a leader of global cultural agendas. Singapore is, for
example, the key regional tourism and transport hub.
101 100
City Figure Date Source Notes
Public libraries
Berlin 88 2010 Amt fr Statistik Berlin-Brandenburg
Istanbul 42 2010 Turkish Statistical Institute
Johannesburg 234 2010 Gauteng Library/Information Services 2010 Annual Report
London 383 2010 CIPFA Stats Public Library Statistics
Mumbai 80 2012 Tata Institute of Social Sciences
New York 220 2009 Institute of Museum and Library Services
Paris 830 2011 Le Motif
So Paulo 116 2012 SEMPLA
Shanghai 477 2012 Shanghai Municipal Culture, Radio Broadcasting,
Film and Television Administration (SMCBFTA)
Singapore 25 2012 Public Libraries Singapore Website
Sydney 154 2010 State Library New South Wales, Public Libraries
in New South Wales Directory 2010
Tokyo 377 2009 Tokyo Metropolitan Government, Bureau of
General Afairs, Statistics Division
No. of public libraries per 100,000 population
Berlin 2.5 2010 Amt fr Statistik Berlin-Brandenburg
Istanbul 0.3 2010 Turkish Statistical Institute
Johannesburg 2 2010 Gauteng Library/Information Services 2010
Annual Report
London 5 2010 CIPFA Stats Public Library Statistics
Mumbai 0.006 2012 Tata Institute of Social Sciences
New York 3 2009 Institute of Museum and Library Services
Paris 7 2011 Le Motif/Insee
So Paulo 1 2012 SEMPLA
Shanghai 2 2012 Shanghai Municipal Culture, Radio Broadcasting,
Film and Television Administration (SMCBFTA)
Singapore 0.5 2012 Public Libraries Singapore Website
Sydney 3 2010 State Library New South Wales, Public Libraries
in New South Wales Directory 2010
Tokyo 3 2009 Tokyo Metropolitan Government, Bureau of
General Afairs, Statistics Division
World cities cultural infrastructure and output
City Figure Date Source Notes
National museums
Berlin 18 2010 Staatliche Museen zu Berlin Preuischer Kulturbesitz
Istanbul 7 2010 Ministry of Culture and Tourism
Johannesburg 9 2012 VANSA
London 11 2010 DCMS
Mumbai 4 2012 Tata Institute of Social Sciences
New York 5 2012 Alliance for the Arts/NYC-ARTS
Paris 24 2012 RMN (Runion des muses nationaux)
So Paulo 1 2012 IBRAM Museu Lasar Segall
Shanghai 27 2010 Statistical Yearbook of Shanghai Cultural Relics 2010
(SYSCR2010)
Singapore 5 2010 Singapore Cultural Statistics Arts and Cultural Scene
Sydney 1 2010 Museums & Galleries NSW Directory/Online Research National Maritime Museum
Tokyo 8 2012 Japan Independent Administrative Institution
National Museum of Art
Other museums
Berlin 140 2010 Staatliche Museen zu Berlin Preuischer Kulturbesitz
Istanbul 71 2010 Ministry of Culture and Tourism, Istanbul Visual Arts
Report
Johannesburg 51 2012 COJ 2030 Report/VANSA
London 162 2005 MLA London (2007) Facts and Figures/Association
of Independent Museums
Mumbai 6 2012 Tata Institute of Social Sciences
New York 126 2012 Alliance for the Arts/NYC-ARTS/New York State
Department of Education
Paris 113 2009 Ministre de la Culture et de la communication (DEPS)
So Paulo 110 2012 SPTuris
Shanghai 87 2010 Shanghai Statistical Yearbook 2011
Singapore 48 2010 Singapore Cultural Statistics Arts and Cultural Scene
Sydney 59 2010 Museums & Galleries NSW Directory/Online Research
Tokyo 39 2011 Tokyo Metropolitan Government, Bureau of Citizens
and Cultural Afairs / NLI Research Institute
103 102
City Figure Date Source Notes
UNESCO World Heritage Sites
Berlin 3 2012 UNESCO
Istanbul 1 2012 UNESCO
Johannesburg 1 2012 UNESCO
London 4 2012 UNESCO
Mumbai 2 2012 UNESCO
New York 1 2012 UNESCO
Paris 4 2012 UNESCO
So Paulo 0 2012 UNESCO
Shanghai 0 2012 UNESCO
Singapore 0 2012 UNESCO
Sydney 2 2012 UNESCO
Tokyo 1 2012 UNESCO

No. of other heritage/historical sites
Berlin 8,689 2011 Landesdenkmalamt Denkmalliste Berlin
Istanbul 30,188 2010 Turkish Statistical Institute Cultural Statistics
Johannesburg 281 2011 Provincial Heritage Resources Agency Gauteng
London 18,901 2011 English Heritage Heritage Counts 2011 London Report
Mumbai 42 2012 Tata Institute of Social Sciences
New York 1,482 2012 The NYC Landmarks Preservation Commission
Paris 3,792 2009 Ministre de la Culture et de la communication (DEPS)
So Paulo 12 2012 Secretaria Municipal de Cultura
Shanghai 2,049 2010 Shanghai Yearbook 2011
Singapore 63 2010 Preservation of Monuments Board Singapore Cultural
Statistics 2011
Sydney 783 2012 Australian Heritage Database
Tokyo 419 2012 Agency for Cultural Afairs / NLI Research Institute
City Figure Date Source Notes
No. of book loans by public libraries per year (million)
Berlin 23.58 2010 Amt fr Statistik Berlin-Brandenburg
Istanbul 0.12 2010 Turkish Statistical Institute Cultural Statistics
Johannesburg 9.01 2010 Gauteng Library/Information Services 2010
Annual Report
London 37.2 2010 CIPFA Stats Public Library Statistics
Mumbai 2.05 2011 Tata Institute of Social Sciences
New York 68.04 2010 Bibliostat Connect
Paris 47 2011 Le Motif (observatoire du livre et de lcrit
en Ile-de-France)
So Paulo 0.84 2012 SEMPLA
Shanghai 58.69 2010 Shanghai Statistical Yearbook 2011(SSY2011)/STA
Singapore 33.2 2010 National Library Board Singapore Cultural
Statistics 2011
Sydney 20.83 2010 National and State Libraries Australasia
Tokyo 112.24 2009 Tokyo Metropolitan Government, Bureau of
General Afairs, Statistics Division, Management
and Coordination Section
No. of book loans by public libraries per capita per year
Berlin 6.81 2010 Amt fr Statistik Berlin-Brandenburg
Istanbul 0.0085 2010 Turkish Statistical Institute Cultural Statistics
Johannesburg 0.8 2010 Gauteng Library and Information Services
2010 Annual Report
London 4.8 2009 CIPFA Public Library Statistics 200910 Figure estimated from national gure
Mumbai 0.16 2011 Tata Institute of Social Sciences
New York 8.32 2010 Bibliostat Connect
Paris 3.95 2011 le Motif/Insee
So Paulo 0.07 2011 SEMPLA
Shanghai 2.5 2010 SSY2011/STA
Singapore 6.5 2010 National Library Board Singapore Cultural
Statistics 2011
Sydney 4.55 2010 National and State Libraries Australasia
Tokyo 8.64 2009 Tokyo Metropolitan Government, Bureau of
General Afairs, Statistics Division, Management
and Coordination Section
105 104
City Figure Date Source Notes
No. of theatrical performances at all theatres per year
Berlin 6,900 2010 Deutscher Bhnenverein Theaterstatistik 2009/2010
Istanbul 6,349 2010 Ministry of Culture and Tourism, Istanbul
Performing Arts Report
Johannesburg 5,000 2011 VANSA
London 32,448 2012 Time Out London Scaled up from weekly gures
Mumbai 8,750 2012 Tata Institute of Social Sciences
New York 43,004 2012 Time Out New York Scaled up from weekly gures
Paris 26,676 2011 Ofciel des Spectacles Scaled up from weekly gures
Shanghai 15,618 2010 SYSCR2010/Shanghai Culture Yearbook 2011
(SCY2011)
Singapore 2,421 2010 National Arts Council Singapore Cultural Statistics
2011
Sydney 4,966 2012 Time Out Sydney Scaled up from weekly gures
Tokyo 24,575 2008 Pia Research Institute/NLI Research Institute Figure estimated from national gure
No. of live music venues
Berlin 250 2012 berlin.de
Istanbul 91 2010 Ministry of Culture and Tourism, Istanbul Music
Industry Report
Johannesburg 46 2012 South African Music Rights Organisation/VANSA
London 349 2011 Time Out London/The Unsigned Band Guide 2011/
ViewLondon
Mumbai 98 2012 Tata Institute of Social Sciences
New York 277 2012 Alliance for the Arts/NYC-ARTS
Paris 423 2012 Pages Jaunes
So Paulo 294 2011 SPTuris
Shanghai 44 2012 STA
Sydney 69 2012 about.nsw.org, Directory of Live Music Venues
NSW/BOP
Tokyo 385 2012 Lets Enjoy Tokyo Directory
City Figure Date Source Notes
% of public green space (parks and gardens)
Berlin 14.4% 2011 berlin.de
Istanbul 1.5% 2009 Urban Age
Johannesburg 24% 2002 State of the Environment Report, City of Figure does not refer to the Gauteng
Johannesburg 2009 region but to the metropolitan area
of Johannesburg
London 38.4% 2003 Urban Age
Mumbai 2.5% 2011 Tata Institute of Social Sciences
New York 14% 2012 NYC Parks & Recreation
Paris 9.4% 2009 IAU Ile-de-France
Shanghai 2.6% 2012 SMCBFTA
Singapore 47% 2011 National Parks Board
Sydney 46% 2010 New South Wales Department of Planning
Tokyo 3.4% 2011 Survey of Parks, Bureau of Construction, Tokyo
Metropolitan Government
Theatres
Berlin 56 2010 Deutscher Bhnenverein Theaterstatistik
2009/2010
Istanbul 184 2010 Ministry of Culture and Tourism, Istanbul
Performing Arts Report
Johannesburg 24 2012 COJ 2030 report/VANSA
London 214 2010 Arts Council England & Visit London
Mumbai 120 2012 Tata Institute of Social Sciences
New York 420 2012 Alliance for the Arts/NYC-ARTS
Paris 353 2011 CNT
So Paulo 116 2012 SPTuris
Shanghai 97 2010 SYSCR2010
Singapore 55 2012 Street Directory Singapore/AlloExpat Singapore
Sydney 73 2012 Live Performance Australia/Yellow Pages
Tokyo 230 2012 Directory of Theatre Guide/NLI Research
107 106
City Figure Date Source Notes
No. of comedy clubs
Berlin 15 2012 Qype Germany
Istanbul 1 2011 istanbul.net.tr
Johannesburg 1 2011 VANSA
London 18 2012 Time Out London
Mumbai 1 2012 Tata Institute of Social Sciences
New York 48 2012 BOP
Paris 45 2012 Ofciel des spectacles
So Paulo 1 2012 Guia da Folha
Singapore 1 2012 BOP
Sydney 3 2012 BOP

No. of comedy shows/performances per year
Johannesburg 508 2011 VANSA
London 11,388 2012 Time Out London Scaled up from weekly gures
Mumbai 217 2012 Tata Institute of Social Sciences
New York 11,076 2012 Time Out New York Scaled up from weekly gures
Paris 10,348 2012 Ofciel des spectacles Scaled up from weekly gures
So Paulo 300 2012 Guia da Folha
Singapore 416 2012 Time Out Singapore Scaled up from weekly gures
Sydney 432 2012 Time Out Sydney Scaled up from weekly gures
Tokyo 8,452 2008 2009 Pia Research Institute/NLI Research Institute Figure estimated from national gure
City Figure Date Source Notes
Major concert halls
Berlin 2 2012 Statistisches Bundesamt Deutschland
Istanbul 6 2010 Ministry of Culture and Tourism, Istanbul Music
Industry Report
Johannesburg 4 2012 VANSA
London 10 2011 Visit London/BOP
Mumbai 2 2012 Tata Institute of Social Sciences
New York 15 2012 BOP
Paris 15 2012 Mdiathque Cit de la musique/IAU Ile-de-France
So Paulo 7 2012 SPTuris
Shanghai 4 2012 STA
Singapore 8 2012 BOP
Sydney 4 2012 BOP
Tokyo 15 2011 NLI Research Institute
No. of music performances per year
Johannesburg 7,400 2012 VANSA
London 17,108 2012 Time Out London Scaled up from weekly gures
Mumbai 593 2012 Tata Institute of Social Sciences
New York 22,204 2012 Time Out New York Scaled up from weekly gures
Paris 33,020 2012 Lylo
Shanghai 3,356 2008 Ministry of Culture
Singapore 2,418 2010 National Arts Council Singapore Cultural
Statistics 2011
Sydney 1,014 2012 Time Out Sydney Scaled up from weekly gures
Tokyo 15,617 2008 2009 Pia Research Institute
109 108
City Figure Date Source Notes
Specialist public cultural HE establishments
Berlin 5 2012 Das Bildungs-und Studenten-Portal
London 11 2010 HESA (2011)
Mumbai 18 2012 Tata Institute of Social Sciences
Paris 30 2010 Ministre de la Culture et de la communication (DEPS)
So Paulo 2 2012 UNESP Instituto de Artes e Msica and USP
Escola de Comunicao e Artes
Shanghai 5 2010 Shanghai Education Statistics Manual 2011
Sydney 2 2012 universitiesaustralia.edu
Tokyo 1 2012 NLI Research Institute

Specialist private cultural HE establishment
Berlin 12 2012 berlin.de/movie-college.de
Johannesburg 24 2012 VANSA
London 46 2012 BOP
New York 12 2011 Center for an Urban Future
Paris 73 2011 LEtudiant/IAU Ile-de-France (Visiaurif)
So Paulo 4 2012 Prefeitura de So Paulo
Shanghai 18 2011 Shanghai Municipal Education Commission
Singapore 2 2012 Ministry of Education Education Statistics Digest 2011
Sydney 20 2012 universitiesaustralia.edu
Tokyo 16 2012 NLI Research Institute
City Figure Date Source Notes
No. of dance performances per year
Berlin 111 2010 Deutscher Bhnenverein Theaterstatistik 2009/2010
Istanbul 154 2010 Turkish Statistical Institute Cultural Statistics
Johannesburg 250 2012 VANSA Figure reects contemporary dance
performances only
London 2,756 2012 Time Out London Scaled up from weekly gures
Mumbai 130 2012 Tata Institute of Social Sciences
New York 6,292 2012 Time Out New York Scaled up from weekly gures
Paris 3,172 2012 Ofciel des spectacles Scaled up from weekly gures
So Paulo 100 2012 Guia da Folha
Shanghai 1,686 2008 Ministry of Culture
Singapore 1,572 2010 National Arts Council Singapore Cultural Statistics
2011
Sydney 283 2012 Time Out/Ticketmaster/Sydney Opera House Estimate/Scaled up from weekly gures
Tokyo 1,598 2008 2009 Pia Research Institute/NLI Research Institute Figure estimated from national gure
Art galleries
Berlin 421 2012 Landesverband fr Berliner Gallerien
Istanbul 267 2010 Ministry of Culture and Tourism
Johannesburg 76 2012 VANSA
London 857 2012 BOP
Mumbai 152 2012 Tata Institute of Social Sciences
New York 721 2012 Alliance for the Arts/NYC-ARTS & Art Dealers
Association of America/Art-Collecting.com
Paris 1,046 2012 Tram/Pages jaunes
Shanghai 208 2010 SMCBFTA/OSCS2011/STA
Singapore 252 2012 BOP
Sydney 122 2012 Museums & Galleries NSW Directory/BOP
Tokyo 688 2011 Tokyo Metropolitan Government. Bureau of Citizens
and Cultural Afairs/2011 Bijutsu-Nenkansha/NLI
Research Institute
111 110
City Figure Date Source Notes
No. of non-professional dance schools
Berlin 104 2012 Gelbe Seiten
Istanbul 98 2012 Yellow Pages
Johannesburg 36 2012 VANSA
London 618 2012 Yell
New York 682 2012 NYC Performing Arts Spaces
Paris 715 2012 Pages jaunes
So Paulo 29 2012 Guia So Paulo
Shanghai 438 2012 Dianping.com
Singapore 89 2012 Eguide Singapore Business Directory
Sydney 441 2012 Yellow Pages
Tokyo 748 2012 Nippon Telegraph and Telephone Corporation /
NLI Research Institute

Cinemas
Berlin 94 2011 Filmfrderungsanstalt
Istanbul 118 2010 Ministry of Culture and Tourism, Istanbul Film
Industry Report
Johannesburg 47 2012 NFVF/VANSA
London 108 2010 BFI Statistical Yearbook 2011
Mumbai 105 2012 Tata Institute of Social Sciences
New York 117 2012 cinematreasures.org/mrmovietimes.com
Paris 302 2010 CNC
So Paulo 45 2011 ECINE
Shanghai 230 2012 SMCBFTA
Singapore 34 2010 BOP
Sydney 67 2011 Movie Fix
Tokyo 82 2010 Industrial Statistics Ofce, Research and Statistics
Department, Economic and Industrial Policy Bureau,
Ministry of Economy, Trade and Industry
City Figure Date Source Notes
No. of students of specialist Art & Design public institutions
Berlin 5,091 2009 Das Bildungs-und Studenten-Portal
London 34,920 2010 HESA (2011)
Mumbai 1,375 2011 Tata Institute of Social Sciences
Paris 14,024 2010 Ministre de la culture et de la communication /
Manufacture nationale de Svres / CCIP
Shanghai 13,324 2010 SESM2011
Sydney 15,571 2010 National institute of dramatic arts/National Art School
Tokyo 24,120 2011 Tokyo Metropolitan Government, Bureau of Citizens
and Cultural Afairs / NLI Research Institute
No. of students of Art & Design degree courses at generalist universities
Istanbul 774 2010 Ministry of Culture and Tourism, Istanbul Visual
Arts Report
Johannesburg 9,066 2010 Department of Higher Education
London 15,745 2010 HESA (2011)
Shanghai 43,501 2012 Shanghai Municipal Education Commission
Singapore 7,660 2010 National Arts Council Singapore Cultural Statistics 2011
Sydney 13,972 2010 Australian Government Department of Education,
2010 Students Higher Education Statistics
Tokyo 25,444 2011 Tokyo Metropolitan Government, Bureau of Citizens
and Cultural Afairs / NLI Research Institute
113 112
City Figure Date Source Notes
No. of lms given theatrical release in the country in a year
Berlin 508 2010 Spitzenorganisation der Filmwirtschaf
Filmstatistisches Jarbuch 2011
Istanbul 254 2009 Ministry of Culture and Tourism, Istanbul Film
Industry Report
Johannesburg 203 2011 NFVF
London 557 2010 BFI Statistical Yearbook 2011
Mumbai 3,781 2010 Central Board of Film Certication (CBFC), Mumbai,
Annual Report 2010
New York 610 2011 Motion Picture Association of America
Paris 575 2010 CNC
So Paulo 303 2010 ECINE
Shanghai 252 2011 STA
Singapore 352 2009 Screen Digest
Sydney 342 2011 Screen Australia
Tokyo 799 2011 Motion Picture Producers Association of Japan
No. of foreign lms given theatrical release in the country in a year
Berlin 315 2010 Spitzenorganisation der Filmwirtschaf
Filmstatistisches Jarbuch 2011
Istanbul 184 2009 Ministry of Culture and Tourism, Istanbul Film
Industry Report
Johannesburg 21 2011 NFVF
London 438 2010 BFI Statistical Yearbook 2011
Mumbai 298 2010 Central Board of Film Certication (CBFC), Mumbai,
Annual Report 2010
Paris 305 2010 CNC
So Paulo 228 2010 ECINE
Shanghai 60 2011 Filmsh
Sydney 306 2011 Screen Australia
Tokyo 358 2011 Motion Picture Producers Association of Japan
City Figure Date Source Notes
Cinema screens
Berlin 266 2011 Filmfrderungsanstalt
Istanbul 501 2010 Ministry of Culture and Tourism, Istanbul Film
Industry Report
Johannesburg 368 2012 NFVF/VANSA
London 566 2010 BFI Statistical Yearbook 2011
Mumbai 232 2012 Tata Institute of Social Sciences
New York 501 2012 Cinematreasures.org/Mrmovietimes
Paris 1003 2010 CNC
So Paulo 282 2011 ECINE
Shanghai 670 2010 Shanghai Yearbook 2011
Singapore 239 2010 BOP
Sydney 295 2012 Movie Fix/Screen Australia Figure estimated from regional gure
Tokyo 334 2010 Industrial Statistics Ofce, Research and Statistics
Department, Economic and Industrial Policy Bureau,
Ministry of Economy, Trade and Industry
No. of cinema screens per million population
Berlin 77 2011 Filmfrderungsanstalt
Istanbul 38 2010 Ministry of Culture and Tourism, Istanbul Film
Industry Report
Johannesburg 33 2012 NFVF/VANSA
London 73 2010 BFI Statistical Yearbook 2011
Mumbai 19 2012 Tata Institute of Social Sciences
New York 61 2012 cinematreasures.org/mrmovietimes.com
Paris 85 2010 CNC
So Paulo 25 2011 ECINE
Shanghai 28 2010 Shanghai Yearbook 2011
Singapore 47 2010 BOP
Sydney 64 2012 Movie Fix/Screen Australia Figure estimated from regional gure
Tokyo 25 2010 Industrial Statistics Ofce, Research and Statistics
Department, Economic and Industrial Policy Bureau,
Ministry of Economy, Trade and Industry
115 114
City Figure Date Source Notes
Bookshops per 100.000 population
Berlin 7 2012 Gelbe Seiten
Istanbul 3 2012 Yellow Pages
Johannesburg 9 2012 VANSA/SABDA
London 10 2011 Booksellers Association
Mumbai 4 2012 Tata Institute of Social Sciences
New York 9 2012 Citysearch
Paris 9 2011 le Motif
So Paulo 8 2011 ANL
Shanghai 15 2010 SCY2011
Singapore 3 2012 Eguide Singapore Business Directory
Sydney 10 2012 Yellow Pages
Tokyo 13 2009 Nippon Shuppan Hanbai Inc
Rare and second-hand bookshops
Berlin 4 2012 Gelbe Seiten
Johannesburg 943 2012 VANSA/SABDA database
London 68 2011 Experian
Mumbai 6 2012 Tata Institute of Social Sciences
New York 99 2012 Citysearch
Paris 282 2012 Pages jaunes
So Paulo 90 2011 Guia Mais
Shanghai 343 2012 kongfz.com
Singapore 12 2012 Eguide Singapore Business Directory
Sydney 93 2012 Yellow Pages
Tokyo 681 2012 Japanese Association of Dealers in Old Books/
NLI Research Institute
City Figure Date Source Notes
Film festivals
Berlin 33 2012 Berlin.de
Istanbul 35 2010 Ministry of Culture and Tourism, Istanbul Music
Industry Report
Johannesburg 16 2012 NFVF/VANSA
London 61 2011 British Council
Mumbai 6 2011 Tata Institute of Social Sciences
New York 57 2012 NYC.gov
Paris 190 2010 Drac Ile-de-France
So Paulo 29 2011 ECINE
Shanghai 2 2010 Shanghai Yearbook 2011
Sydney 36 2012 Weekend Notes Sydney
Tokyo 35 2012 Yamagata International Documentary Film Festival
Bookshops
Berlin 245 2012 Gelbe Seiten
Istanbul 463 2012 Yellow Pages
Johannesburg 1,020 2012 VANSA/SABDA
London 802 2011 Booksellers Association
Mumbai 525 2012 Tata Institute of Social Sciences
New York 777 2012 Citysearch
Paris 1,025 2011 le Motif
So Paulo 869 2011 ANL
Shanghai 1,322 2010 SCY2011
Singapore 164 2012 Eguide Singapore Business Directory
Sydney 439 2012 Yellow Pages
Tokyo 1,675 2009 Nippon Shuppan Hanbai Inc
117 116
City Figure Date Source Notes
No. of bars
Berlin 1,247 2008 Amt fr Statistik Berlin-Brandenburg
Istanbul 657 2012 Yellow Pages
London 2,143 2011 Yell
Mumbai 543 2012 Yellow Pages
New York 7,224 2012 New York State Liquor Authority
Paris 3,350 2009 Synhorcat
Shanghai 1,320 2012 s.baidu.com
Singapore 576 2012 Eguide Singapore Business Directory Bars and Pubs
Sydney 661 2011 NSW Government Licensing Service
Tokyo 14,184 2012 Kakaku.com. Inc.
Bars per 100,000 population
Berlin 36 2008 Amt fr Statistik Berlin-Brandenburg
Istanbul 5 2012 Yellow Pages
London 27 2011 Yell
Mumbai 4 2012 Tata Institute of Social Sciences
New York 88 2012 New York State Liquor Authority
Paris 30 2009 Synhorcat/Insee
Shanghai 6 2012 STA
Singapore 11 2012 Eguide Singapore Business Directory Bars and Pubs
Sydney 14 2011 NSW Government Licensing Service
Tokyo 108 2012 Kakaku.com. Inc.
City Figure Date Source Notes
No. of book titles published in the country in a year
Berlin 93,124 2010 Borsenverein des Deutschen Buchhandels
Istanbul 34,863 2010 Ministry of Culture and Tourism
Johannesburg 3,653 2010 South African Publishers Association
London 151,969 2010 The Booksellers Association/Nielsen Book
Mumbai 82,537 2008 Federation of Indian Publishers
New York 302,410 2009 Bowker
Paris 74,788 2009 SNE
So Paulo 57,600 2009 CBL
Shanghai 328,387 2010 The General Administration of Press and Publication
of the P. R. China
Sydney 8,602 2005 Australian Bureau of Statistics Figure for Australian Titles Only
Tokyo 78,501 2009 Japan Statistical Research and Training Institute,
Ministry of Internal Afairs and Communications (MIAC)
Night clubs, discos and dance halls
Berlin 152 2012 Club Guide Berlin
London 337 2011 Yell
Mumbai 29 2012 Tata Institute of Social Sciences
New York 584 2012 Citysearch
Paris 190 2012 Time out Paris
So Paulo 2,000 2011 Isto Dinheiro Estimate
Shanghai 1,865 2011 STA
Singapore 56 2012 Eguide Singapore Business Directory
Sydney 75 2012 Yellow Pages
Tokyo 73 2012 Time Out Tokyo
119 118
City Figure Date Source Notes
No. of Michelin star restaurants
Berlin 14 2012 Michelin Guide Website
London 64 2012 Via Michelin
New York 62 2012 Michelin Travel
Paris 97 2012 Guide Michelin
Tokyo 247 2012 Michelin Japan/NLI Research Institute
No. of markets
Johannesburg 37 2012 VANSA
London 113 2008 The London Market Guide
New York 100 2011 NYC Ofce of Citywide Event Coordination Management
Paris 2,124 2010 Ple emploi
So Paulo 43 2011 Biblioteca Virtual
Shanghai 262 2011 STA
Sydney 30 2012 Local Market Guide Australia
Festivals and celebrations
Berlin 63 2012 Time Out Berlin
Istanbul 136 2010 Ministry of Culture and Tourism, Istanbul Music
Industry Report
Johannesburg 82 2012 VANSA
London 254 2011 Visit London
Mumbai 34 2012 Tata Institute of Social Sciences
New York 309 2011 NYC Ofce of Citywide Event Coordination Management
Paris 360 2011 Direction Rgionale des Afaires Culturelles
dIle-de-France
Shanghai 33 2010 OSCS2011
Sydney 312 2012 Weekend Notes Sydney
Tokyo 485 2011 Tokyo Metro Co., Ltd. & Gurunavi, Inc.
City Figure Date Source Notes
No. of restaurants
Berlin 4,885 2008 Amt fr Statistik Berlin-Brandenburg
Istanbul 1,508 2012 Yellow Pages
Johannesburg 15,000 2012 FEDHASA/VANSA Estimate
London 37,450 2011 Food Standards Agency
Mumbai 13,205 2012 Brihanmumbai Municipal Corporation Diary
New York 24,149 2012 New York City Department of Health Restaurant
Inspection Information
Paris 22,327 2010 Ple emploi
So Paulo 12,500 2011 SPTuris
Shanghai 55,614 2012 Dianping.com
Singapore 2,637 2010 Statistics Singapore
Sydney 4,554 2011 NSW Government Licensing Service
Tokyo 150,510 2009 Tokyo Metropolitan Government, Bureau of Social
Welfare and Public Health
No. of restaurants per 100.000 population
Berlin 141 2008 Amt fr Statistik Berlin-Brandenburg
Istanbul 11 2012 Yellow Pages
Johannesburg 133 2012 FEDHASA/VANSA
London 478 2011 Food Standards Agency
Mumbai 11 2012 Brihanmumbai Municipal Corporation Diary
New York 295 2012 New York City Department of Health Restaurant
Inspection Information
Paris 189 2010 Ple emploi
So Paulo 111 2011 SPTuris
Shanghai 237 2012 dianping.com
Singapore 51 2010 Statistics Singapore
Sydney 99 2012 NSW Government Licensing Service
Tokyo 1144 2009 Tokyo Metropolitan Government, Bureau of Social
Welfare and Public Health
121 120
World cities cultural consumption and participation
City Figure Date Source Notes
Museums/galleries attendance % working age population attending once per year
Johannesburg 8% 2011 VANSA
London 54% 2010 DCMS Taking Part Survey 2011
Paris 43% 2008 Ministre de la culture et de la communication
Shanghai 47% 2010 SSY2011 Figure includes both adults and children
Singapore 40% 2009 Population Survey of the Arts Figure corresponds to Percentage
of Singaporeans who have attended
at least one arts event in the past year
Sydney 26% 2008 Australian Bureau of Statistics
Tokyo 33% 2006 Japan Statistics Bureau, Ministry of Internal Afairs
and Communications (MIAC) / NLI Research Institute
No. of visits to top ve most visited museums and galleries
Berlin 4,718,729 2010 berlin.de
Istanbul 7,131,480 2011 Istanbul Provincial Directorate of Culture and Tourism
Johannesburg 676,208 2011 VANSA
London 25,327,221 2011 DCMS
Mumbai 1,800,895 2011 Tata Institute of Social Sciences
New York 15,417,115 2011 DCA/The Art Newspaper
Paris 23,416,427 2010 CRT Paris-Ile-de-France
So Paulo 2,175,305 2012 Prefeitura de So Paulo
Shanghai 6,633,392 2011 STA
Singapore 2,734,900 2011 Monthly Digest of Statistics Singapore
Sydney 2,844,063 2011 The Art Newspaper Exhibitions & Museum Attendance
Figures 2011/BOP Consulting
Tokyo 9,732,107 2009 Tokyo Metropolitan Government, Bureau of
General Afairs, Statistics Division, Management
and Coordination Section / NLI Research Institute
City Figure Date Source Notes
No. of international students studying in the city
Berlin 21,805 2010 Amt fr Statistik Berlin-Brandenburg
Istanbul 6,643 2011 OSYM (grenci Seme Yerlestirme Merkezi/
Student Selection and Placement Center)
Johannesburg 37,067 2010 Department of Higher Education and Training
London 99,360 2010 UKCISA (UK Council for International Students Afairs)
Mumbai 1,500 2011 Tata Institute of Social Sciences
New York 60,791 2010 Institute of International Education
Paris 96,782 2007 Ministre de lducation nationale, de lenseignement
suprieur et de la recherche
So Paulo 15,432 2012 Prefeitura de So Paulo
Shanghai 43,016 2010 Shanghai Yearbook 2011
Singapore 91,500 2010 Immigration and Checkpoints Authority (ICA)
Sydney N/A 2008 City of Sydney, Needs Assessment of International Figure is not available for Sydney
Students in the City of Sydney Report but New South Wales has 180,000
international students, among which
a large majority study in Sydney
Tokyo 43,188 2011 Japan Student Services Organisation
No. of video games arcades
Istanbul 18 2010 Yellow Pages
Johannesburg 11 2012 VANSA
London 44 2012 Yell
Mumbai 278 2012 Tata Institute of Social Sciences
New York 17 2012 Citysearch
Paris 14 2012 IAU Ile-de-France Estimate
Shanghai 587 2010 OSCS2011
Sydney 10 2012 Yellow Pages
Tokyo 997 2010 National Police Agency
123 122
City Figure Date Source Notes
No. of admissions at all theatres per year
Berlin 2,378,818 2010 Kulturfrderbericht 2011 des Landes Berlin
Istanbul 2,358,146 2010 Turkish Statistical Institute Cultural Statistics
Johannesburg 1,700,000 2011 VANSA
London 14,152,230 2010 SOLT Figure only concerns members of
The Society of London Theatre
Mumbai 2,673,563 2012 Mumbai Theatre Guide
New York 28,187,344 2011 DCA/NYC & Co.
Paris 5,700,000 2008 ASTP (Association pour le soutien au Thtre priv) / Figure only concerns private theatres
IAU dF
Shanghai 630,200 2010 OSCS2011
Singapore 615,200 2010 National Arts Council Singapore Cultural Statistics
2011
Sydney 700,700 2008 Australian Bureau of Statistics
Tokyo 12,011,000 2008 2009 Pia Research Institute
No. of theatre admissions per capita per year
Berlin 0.69 2010 Kulturfrderbericht 2011 des Landes Berlin
Istanbul 0.18 2010 Turkish Statistical Institute Cultural Statistics
Johannesburg 0.15 2011 VANSA
London 1.8 2010 SOLT Figure only concerns members of
The Society of London Theatre
Mumbai 0.21 2012 Mumbai Theatre Guide
New York 3.45 2011 DCA/NYC & Co.
Paris 0.5 2008 ASTP/SACD/Ministre de la Culture Figure only concerns private theatres
et de la communication (DEPS)/Insee
Shanghai 0.27 2010 OSCS2011/STA
Singapore 0.12 2010 National Arts Council Singapore Cultural Statistics
2011
Sydney 0.15 2008 Australian Bureau of Statistics
Tokyo 0.93 2008 2009 Pia Research Institute
City Figure Date Source Notes
No. of visits to top ve museums and galleries per capita
Berlin 1.36 2010 berlin.de
Istanbul 0.52 2011 Istanbul Provincial Directorate of Culture and Tourism
Johannesburg 0.05 2011 primary consultation with museums and galleries
London 3.2 2011 DCMS
Mumbai 0.14 2011 Tata Institute of Social Sciences
New York 1.89 2011 DCA/The Art Newspaper
Paris 2.0 2009 CRT Paris-Ile-de-France / Insee
So Paulo 0.19 2012 Prefeitura de So Paulo
Shanghai 0.28 2011 STA
Singapore 0.5 2011 Monthly Digest of Statistics Singapore
Sydney 0.62 2011 The Art Newspaper, Exhibitions & Museum Attendance
Figures 2011 / BOP Consulting
Tokyo 0.75 2009 Tokyo Metropolitan Government, Bureau of
General Afairs, Statistics Division, Management
and Coordination Section / NLI Research Institute
Average daily no. of visits to top ve art exhibitions
Berlin 1,653 2011 The Art Newspaper, Exhibitions & Museum Attendance
Figures 2011
Istanbul 2,179 2011 The Art Newspaper, Exhibitions & Museum Attendance
Figures 2011
London 4,011 2011 The Art Newspaper, Exhibitions & Museum Attendance
Figures 2011
New York 5,783 2011 The Art Newspaper, Exhibitions & Museum Attendance
Figures 2011
Paris 8,130 2010 CRT Paris-Ile-de-France/IAU Ile-de-France
So Paulo 3,182 2011 The Art Newspaper, Exhibitions & Museum Attendance
Figures 2011
Shanghai 10,342 2010 STA
Sydney 2,104 2011 The Art Newspaper, Exhibitions & Museum Attendance
Figures 2011
Tokyo 6,258 2010 Seikatsu no Tomo Co. / NLI Research Institute
125 124
City Figure Date Source Notes
No. of cinema admissions per year
Berlin 9,126,793 2011 Filmfrderungsanstalt
Istanbul 10,272,528 2009 Ministry of Culture and Tourism, Istanbul Film
Industry Report
Johannesburg 13,079,824 2007 National Film and Video Foundation
London 41,571,000 2011 BFI Statistical Yearbook 2011
Mumbai 10,974,667 2011 Tata Institute of Social Sciences
Paris 58,246,000 2010 CNC
So Paulo 50,000,000 2011 Organizao Filme B
Shanghai 22,878,000 2010 SCY2011
Singapore 22,117,400 2011 Monthly Digest of Statistics Singapore
Sydney 22,044,910 2010 Screen Australia/BOP Consulting Figure estimated from Sydney
cinema attendance rate and
Sydney cinema attendance frequency
Tokyo 29,255,665 2010 Industrial Statistics Ofce, Research and Statistics
Department, Economic and Industrial Policy Bureau,
Ministry of Economy, Trade and Industry
No. of cinema admissions per capita per year
Berlin 2.6 2011 Filmfrderungsanstalt
Istanbul 0.8 2009 Ministry of Culture and Tourism, Istanbul Film
Industry Report
Johannesburg 1.3 2007 National Film and Video Foundation
London 5.3 2011 BFI Statistical Yearbook 2011
Mumbai 0.9 2011 Tata Institute of Social Sciences
Paris 4.9 2010 CNC
So Paulo 4.4 2011 Organizao Filme B
Shanghai 1 2010 SCY2011
Singapore 4.4 2011 Monthly Digest of Statistics Singapore
Sydney 4.8 2010 Screen Australia/BOP Consulting Figure estimated from Sydney
cinema attendance rate and
Sydney cinema attendance frequency
Tokyo 2.2 2010 Industrial Statistics Ofce, Research and Statistics
Department, Economic and Industrial Policy Bureau,
Ministry of Economy, Trade and Industry
City Figure Date Source Notes
Total value of theatre ticket sales at all theatres per year $m (ppp)
Berlin $47,683,000 2009 Deutscher Buhnenverein Bundesverband der
Theater und Orchester
Johannesburg $13,722,800 2011 VANSA Estimate
London $765,817,351 2010 SOLT Figure only concerns members of
The Society of London Theatre
Mumbai $41,214,166 2011 Tata Institute of Social Sciences Figure estimated from average ticket
price
New York $1,080,894,119 2011 The League of American Theatres and Producers Figure only concerns Broadway
productions
Paris $111,855,104 2009 ASTP/SACD/Ministre de la Culture et de la Figure only concerns private theatres
communication (DEPS)
Shanghai $32,000,000 2010 OSCS2011/STA
Singapore $242,624 2009 Singapore Cultural Statistics 2011 Economic
Contribution of the Arts and Cultural Sector
Sydney $22,050,197 2008 Australian Bureau of Statistics & Live Performance Figure estimated from average ticket
Australia price
Tokyo $777,637,196 2008 2009 Pia Research Institute / NLI Research Institute
Total value of ticket sales at all theatres per capita per year $m (ppp)
Berlin $13.78 2009 Deutscher Buhnenverein Bundesverband
der Theater und Orchester
Johannesburg $1.21 2011 VANSA Estimate
London $98 2010 SOLT Figure only concerns West End
productions
Mumbai $3.31 2011 Tata Institute of Social Sciences Figure estimated from average
ticket price
New York $132 2011 The League of American Theatres and Producers Figure only concerns Broadway
productions
Paris $34.58 2009 ASTP/SACD/Ministre de la Culture Figure only concerns private theatres
et de la communication (DEPS)
Shanghai $1.36 2010 OSCS2011/STA
Singapore $0.05 2009 Singapore Cultural Statistics 2011 Economic
Contribution of the Arts and Cultural Sector
Sydney $4.82 2008 Australian Bureau of Statistics & Live Performance Figure estimated from average
Australia ticket price
Tokyo $60.30 2008 2009 Pia Research Institute / NLI Research Institute
127 126
City Figure Date Source Notes
Total value of cinema ticket sales per capita per year $ (ppp)
Berlin $23 2011 Filmfrderungsanstalt
Istanbul $6 2009 Ministry of Culture and Tourism, Istanbul Film
Industry Report
Johannesburg $9 2011 PricewaterhouseCoopers Figure estimated from national gure
London $46 2010 BFI Statistical Yearbook 2011
Mumbai $3.46 2011 Tata Institute of Social Sciences
Paris $6 2010 CNC
So Paulo $25 2011 Organizao Filme B
Shanghai $10 2010 Shanghai Yearbook 2011
Singapore $31 2010 Singapore Film Commission
Sydney $34 2011 Screen Australia & Australian Bureau of Statistics Figure estimated from regional gure
Tokyo $27 2010 Industrial Statistics Ofce, Research and Statistics
Department, Economic and Industrial Policy Bureau,
Ministry of Economy, Trade and Industry /
NLI Research Institute
Estimated attendance at main carnival/festival
Berlin 1,360,000 2011 Karneval der Kulturen Ofcial Website Karneval der Kulturen
Johannesburg 67,829 2011 COJ Report: November 2011 Arts Alive
London 1,500,000 2011 Metropolitan Police Notting Hill Carnival
Mumbai 2,000,000 2011 Tata Institute of Social Sciences Ganesha Utsav
New York 2,500,000 2010 Macys Macys Thanksgiving Day Parade
Paris 1,500,000 2010 CRT Paris-Ile-de-France Nuit Blanche
So Paulo 4,000,000 2012 SP Turis Carnaval
Shanghai 3,060,000 2010 SCY2011 Shanghai International Arts Festival
Sydney 653,000 2011 Sydney Festival Annual Review 2011 Sydney Festival
Tokyo 1,270,000 2010 Taito City Sanja Matsuri
City Figure Date Source Notes
No. of admissions at main lm festival
Berlin 484,860 2011 Berlinale Ofcial Website Berlin Film Festival
Istanbul 150,000 2010 Cultural Economy Compendium Istanbul 2010 Istanbul Film Festival
Johannesburg 7,500 2011 VANSA Tricontinental Film Festival
London 132,000 2010 BFI BFI London Film Festival
Mumbai 100,000 2011 Tata Institute of Social Sciences Mumbai Film Festival
New York 410,000 2010 2011 Tribeca Film Festival Fact Sheet Tribeca Film Festival
Paris 151,800 2011 Rgion Ile-de-France Festival Cinma en plein air
au Parc de la Villette
So Paulo 250,000 2011 SP Cinema Festival Sao Paulo International Film Festival
Shanghai 260,000 2010 Shanghai Yearbook 2011 Shanghai International Film Festival
Sydney 110,000 2011 If Sydney Film Festival
Tokyo 121,010 2010 TIFFCOM 2010 Market Report Tokyo International Film Festival
Total value of cinema ticket sales per year $ (ppp)
Berlin $80,784,465 2011 Filmfrderungsanstalt
Istanbul $75,685,429 2009 Ministry of Culture and Tourism, Istanbul Film
Industry Report
Johannesburg $102,724,956 2011 PricewaterhouseCoopers Figure estimated from national gure
London $363,300,448 2010 BFI Statistical Yearbook 2011
Mumbai $81,200,553 2011 Tata Institute of Social Sciences
Paris $416,083,793 2010 CNC
So Paulo $281,214,848 2011 Organizao Filme B
Shanghai $238,196,000 2010 Shanghai Yearbook 2011
Singapore $156,094,945 2010 Singapore Film Commission
Sydney $156,918,900 2011 Screen Australia & Australian Bureau of Statistics Figure estimated from regional gure
Tokyo $351,024,091 2010 Industrial Statistics Ofce, Research and Statistics
Department, Economic and Industrial Policy Bureau,
Ministry of Economy, Trade and Industry /
NLI Research Institute
129 128
City Figure Date Source Notes
No. of international tourists per year as % of city population
Berlin 82.99% 2010 Amt fr Statistik Berlin-Brandenburg
Istanbul 59.1% 2011 Istanbul Provincial Directorate of Culture and Tourism
Johannesburg 35.2% 2010 Gauteng Tourism Authority
London 194.45% 2011 Ofce for National Statistics
Mumbai 17.65% 2010 Euromonitor Internationals top city destinations
ranking (2012)
New York 102.51% 2011 NYC & Co.
Paris 112.74% 2010 CRT Paris-Ile-de-France
So Paulo 14% 2011 SPTuris
Shanghai 36.26% 2010 SCY2011
Singapore 224.58% 2010 Department of Statistics Singapore
Sydney 57.04% 2010 Destination NSW
Tokyo 45.1% 2010 Tokyo Metropolitan Government, Bureau of
Industrial and Labor Afairs
City Figure Date Source Notes
Estimated attendance at main carnival / festival as % of city population
Berlin 39.6% 2011 Karneval der Kulturen Ofcial Website Karneval der Kulturen
Johannesburg 0.6% 2011 COJ Report: November 2011 Arts Alive
London 19% 2011 Metropolitan Police Notting Hill Carnival
Mumbai 16.09% 2011 Tata Institute of Social Sciences Ganesha Utsav
New York 30% 2010 Macys Macys Thanksgiving Day Parade
Paris 13% 2010 CRT Paris-Ile-de-France Nuit Blanche
So Paulo 36% 2012 SP Turis Carnaval
Shanghai 13% 2010 SCY2011 Shanghai International Arts Festival
Sydney 14.27% 2011 Sydney Festival Annual Review 2011 Sydney Festival
Tokyo 9.65% 2010 Taito City Sanja Matsuri
No. of international tourists per year
Berlin 2,871,000 2010 Amt fr Statistik Berlin-Brandenburg
Istanbul 8,057,879 2011 Istanbul Provincial Directorate of Culture and Tourism
Johannesburg 3,988,335 2010 Gauteng Tourism Authority
London 15,216,000 2011 Ofce for National Statistics
Mumbai 2,195,000 2010 Euromonitor Internationals top city destinations
ranking (2012)
New York 8,380,000 2011 NYC & Co.
Paris 13,300,000 2010 CRT Paris-Ile-de-France
So Paulo 1,600,000 2011 SPTuris
Shanghai 8,511,200 2010 SCY2011
Singapore 11,641,700 2010 Department of Statistics Singapore
Sydney 2,610,000 2010 Destination NSW
Tokyo 5,940,000 2010 Tokyo Metropolitan Government, Bureau of
Industrial and Labor Afairs
131 130
City Figure Date Source Notes
Total population number
Berlin 3,460,725 2010 Amt fr Statistik Berlin-Brandenburg
Germany 81,752,000 2010 Statistisches Bundesamt Deutschland
Istanbul 13,624,240 2011 Turkish Statistical Institute
Turkey 74,724,269 2011 Turkish Statistical Institute
Johannesburg 11,328,203 2011 StatSA Mid Year Population Estimates 2011
South Africa 50,586,757 2011 StatSA Mid Year Population Estimates 2011
London 7,825,200 2010 Ofce for National Statistics
United Kingdom 62,262,000 2010 Ofce for National Statistics
Mumbai 12,432,830 2011 Brihanmumbai Municipal Corporation Diary 2012
India 1,210,193,422 2011 Census 2011
New York 8,175,133 2010 U.S. Census Bureau
United States 308,745,538 2010 U.S. Census Bureau
Paris 11,797,021 2010 Insee
France 62,791,013 2010 Insee
So Paulo 11,253,503 2011 Censo
Brazil 198,000,000 2012 Censo
Shanghai 23,474,600 2011 SMSB
China 1,339,724,852 2010 NBS
Singapore 5,183,700 2011 Department of Statistics Singapore
Sydney 4,575,532 2010 Australian Bureau of Statistics
Australia 22,342,000 2010 Australian Bureau of Statistics
Tokyo 13,159,388 2010 Japan Statistical Yearbook 2012
Japan 128,057,352 2010 Japan Statistical Research and Training Institute,
Ministry of Internal Afairs and Communications (MIAC)
World cities contextual data
City Figure Date Source Notes
Geographical area size, sq. km
Berlin 892 2010 Statistisches Bundesamt Deutschland
Germany 357,124 2010 Statistisches Bundesamt Deutschland
Istanbul 5,313 2010 Turkeys 2010 Statistical Yearbook
Turkey 785,347 2010 Turkeys 2010 Statistical Yearbook
Johannesburg 18,178 2012 VANSA
South Africa 1,221,037 2012 VANSA
London 1,572 2011 Ofce for National Statistics
United Kingdom 242,560 2011 Ofce for National Statistics
Mumbai 437.1 2012 Brihanmumbai Municipal Corporation Diary 2012
India 3,287,263 2011 Government of India
New York 1,214.40 2010 U.S. Census Bureau
United States 3,531,905.43 2010 U.S. Census Bureau
Paris 12,012 2012 IAU Ile-de-France
France 543,965 2012 IAU Ile-de-France
So Paulo 1,500 2011 Censo
Brazil 8,514,877 2012 Censo
Shanghai 6340.5 2010 Shanghai Yearbook 2011
China 9,600,000 2010 National Bureau of Statistics of China (NBS)
Singapore 710 2012 Department of Statistics Singapore
Sydney 12,144.50 2006 Australian Bureau of Statistics
Australia 7,617,930 2006 Australian Bureau of Statistics
Tokyo 2,130 2012 Japan Statistical Yearbook 2012
Japan 377,950 2012 Japan Statistical Research and Training Institute,
Ministry of Internal Afairs and Communications (MIAC)
133 132
City Figure Date Source Notes
Working age population
Berlin 2,297,921 2010 Amt fr Statistik Berlin-Brandenburg
Germany 51,418,800 2010 Statistisches Bundesamt Deutschland
Istanbul 10,420,392 2011 Turkish Statistical Institute
Turkey 55,837,694 2011 Turkish Statistical Institute
Johannesburg 6,833,217 2011 StatSA Mid Year Population Estimates 2011
South Africa 27,060,086 2011 StatSA Mid Year Population Estimates 2011
London 3,851,000 2010 Ofce for National Statistics
United Kingdom 29,279,000 2011 Ofce for National Statistics
Mumbai 8,643,303 2001 Census of India
India 721,396,299 2001 Census of India
New York 5,420,114 2010 U.S. Census Bureau
United States 194,509,689 2010 U.S. Census Bureau
Paris 7,250,499 2010 Insee
France 36,861,457 2010 Insee
So Paulo 6,720,000 2011 Censo
Brazil 113,256,000 2012 Censo
Shanghai 17,563,800 2010 SMSB
China 939,683,011 2010 NBS
Singapore 2,297,921 2010 Amt fr Statistik Berlin-Brandenburg
Sydney 3,157,117 2010 Australian Bureau of Statistics
Australia 15,080,850 2010 Australian Bureau of Statistics
Tokyo 8,739,000 2010 Japan Statistical Yearbook 2012
Japan 80,731,000 2010 Japan Statistical Research and Training Institute,
Ministry of Internal Afairs and Communications (MIAC)
City Figure Date Source Notes
% of total national country population living in the city
Berlin 4.23% 2010 Amt fr Statistik Berlin-Brandenburg
Istanbul 18.23% 2011 Turkish Statistical Institute
Johannesburg 22.4% 2011 StatSA Mid Year Population Estimates 2011
London 12.65% 2010 Ofce for National Statistics
Mumbai 1.03% 2011 Based on Census of India 2011 data
New York 2.65% 2010 U.S. Census Bureau
Paris 18.8% 2010 Insee, estimations de population
So Paulo 5.68% 2011 Censo
Shanghai 1.75% 2010 NBS
Singapore 100% 2011 Department of Statistics Singapore
Sydney 20.48% 2010 Australian Bureau of Statistics
Tokyo 10.28% 2010 Japan Statistical Yearbook 2012
135 134
City Figure Date Source Notes
Foreign born population %
Berlin 13.23% 2010 Amt fr Statistik Berlin-Brandenburg
Germany 8.26% 2010 Statistisches Bundesamt Deutschland
Turkey 1.9% 2010 UN
Johannesburg 5.7% 2007 Statssa: Community Survey 2007
South Africa 2.7% 2007 Statssa: Community Survey 2007
London 30.8% 2010 Migration Observatory
United Kingdom 12% 2010 Migration Observatory
Mumbai 1.4% 2001 Tata Institute of Social Sciences
India 0.52% 2005 UNESCAP Statistical Yearbook for Asia
and the Pacic 2009
New York 36.8% 2010 U.S. Census Bureau
United States 12.7% 2010 U.S. Census Bureau
Paris 12.4% 2008 Insee
France 5.8% 2008 Insee
Shanghai 0.89% 2010 NBS/STA
China 0.08% 2010 NBS/STA
Singapore 26.9% 2011 Department of Statistics Singapore
Sydney 34.4% 2006 Australian Bureau of Statistics
Australia 23.8% 2006 Australian Bureau of Statistics
Tokyo 2.42% 2010 2010 Population Census of Japan
Japan 1.29% 2010 Japan Statistical Research and Training Institute,
Ministry of Internal Afairs and Communications
(MIAC) / NLI Research Institute
City Figure Date Source Notes
No. of households
Berlin 1,988,500 2010 Amt fr Statistik Berlin-Brandenburg
Germany 40,301,000 2010 Statistisches Bundesamt Deutschland
Istanbul 2,550,607 2000 Turkeys 2010 Statistical Yearbook
Turkey 15,070,093 2000 Turkeys 2010 Statistical Yearbook
Johannesburg 3,175,579 2007 Statssa: Community Survey 2007
South Africa 12,500,609 2007 Statssa: Community Survey 2007
London 3,109,657 2001 Census of Population 2001, Ofce for National
Statistics
United Kingdom 26,258,000 2011 Ofce for National Statistics
Mumbai 2,515,589 2011 Census of India
India 192,671,808 2001 Census of India
New York 3,047,249 2010 U.S. Census Bureau
United States 114,235,996 2010 U.S. Census Bureau
Paris 4,897,435 2008 Insee recensement de la population 2008
France 26,614,970 2008 Insee recensement de la population 2008
So Paulo 3,928,331 2011 Censo
Brazil 59,500,000 2011 Censo
Shanghai 8,251,200 2010 SMSB
China 401,520,000 2010 NBS
Singapore 1,146,200 2011 Department of Statistics Singapore
Sydney 1,423,521 2006 Australian Bureau of Statistics
Australia 7,144,096 2006 Australian Bureau of Statistics
Tokyo 6,327,000 2010 Japan Statistical Yearbook 2012
Japan 50,928,100 2010 Japan Statistical Research and Training Institute,
Ministry of Internal Afairs and Communications (MIAC)
137 136
City Figure Date Source Notes
Average income per capita per year (ppp)
Berlin $14,544 2009 Amt fr Statistik Berlin-Brandenburg
Germany $18,681 2009 Amt fr Statistik Berlin-Brandenburg
Istanbul $10,576 2007 Turkeys 2010 Statistical Yearbook
Turkey $7,433 2007 Turkeys 2010 Statistical Yearbook
Johannesburg $11,591 2009 State of the Cities Report 2011
South Africa $7,165 2009 State of the Cities Report 2011
London $45,094 2010 Greater London Authority Income and Spending
at Home Report
United Kingdom $38,715 2010 Ofce for National Statistics
Mumbai $6,839 2010 Economic Survey of Maharashtra 2010/2011
India $2,416 2010 Minsitry of Statistics and Programme Implementation
New York $30,498 2010 U.S. Census Bureau
United States $27,334 2010 U.S. Census Bureau
Paris $26,497 2008 Insee
France $22,154 2008 Insee
So Paulo $14,160 2011 Censo
Brazil $11,600 2011 Censo
Shanghai $5,472 2011 Xinhua Net
China $3,294 2011 CINIC
Singapore $47,180 2010 Singapore Yearbook of Statistics 2011
Sydney $33,285 2009 Australian Bureau of Statistics
Australia $29,643 2009 Australian Bureau of Statistics
Tokyo $55,766 2011 Basic Survey on Wage Structure 2011
Japan $44,085 2011 Wages and Labour Welfare Statistics Division, Ministry
of Health, Labour and Welfare / NLI Research Institute
City Figure Date Source Notes
Education level % with degree level or higher
Berlin 39% 2010 Bildung in Berlin und Brandenburg 2010
Germany 28.4% 2010 Bildung in Berlin und Brandenburg 2010
Istanbul 9.23% 2010 Turkish Statistical Institute
Turkey 11.8% 2010 Turkish Statistical Institute
Johannesburg 32% 2010 State of the Cities Report 2011
South Africa 24% 2010 State of the Cities Report 2011
London 41.9% 2010 Ofce for National Statistics
United Kingdom 31.2% 2010 Ofce for National Statistics
Mumbai N/A
India 3.7% 2001 Census of India
New York 33.3% 2010 U.S. Census Bureau
United States 27.9% 2010 U.S. Census Bureau
Paris 35.84% 2008 Insee
France 28.57% 2008 Insee
So Paulo 19% 2011 Censo
Brazil 12% 2009 OECD
Shanghai 42.92% 2010 SMSB
China 14.03% 2010 NBS
Singapore 22.8% 2010 Department of Statistics Singapore
Sydney 34.96% 2006 Australian Bureau of Statistics
Australia 33.7% 2006 Australian Bureau of Statistics
Tokyo 25.5% 2010 Population Census of Japan
Japan 17.64% 2010 Japan Statistical Research and Training Institute,
Ministry of Internal Afairs and Communications
(MIAC) / NLI Research Institute
139 138
City Figure Date Source Notes
GDP (ppp) (million)
Berlin $80,000 2010 Amt fr Statistik Berlin-Brandenburg
Germany $3,280,500 2010 World Bank
Istanbul $182,000 2008 PricewaterhouseCoopers
Turkey $678,913 2010 World Bank
Johannesburg $175,956 2011 StatSA report: P0441 Gross Domestic Product (GDP),
3rd Quarter 2011
South Africa $521,748 2011 StatSA report: P0441 Gross Domestic Product (GDP),
3rd Quarter 2011
London $565,000 2008 PricewaterhouseCoopers
United Kingdom $3,357,399 2010 World Bank
Mumbai $209,000 2008 PricewaterhouseCoopers
India $3,197,826 2010 World Bank
New York $1,406,000 2008 PricewaterhouseCoopers
United States $14,586,700 2010 World Bank
Paris $605,985 2009 Insee
France $2,054,371 2009 Insee
So Paulo $370,000 2011 Prefeitura de Sao Paulo
Brazil $2,284,000 2011 World Bank
Shanghai $289,899 2011 SMSB
China $7,128,290 2011 Government Work Report of Year 2012
Singapore $311,566 2011 Department of Statistics Singapore
Sydney $213,000 2008 PricewaterhouseCoopers
Australia $924,843 2010 World Bank
Tokyo $743,826 2009 Annual Report on Prefectual Accounts
Japan $4,218,873 2009 Economic and Social Research Institute, Cabinet Ofce,
Government of Japan
City Figure Date Source Notes
Median gross weekly earnings (ppp)
Istanbul $108 2007 Turkeys 2010 Statistical Yearbook
Turkey $159 2007 Turkeys 2010 Statistical Yearbook
Johannesburg $184 2010 StatSA: Monthly Earnings of South Africans, 2010
(Labour Force Survey)
South Africa $140 2010 StatSA: Monthly Earnings of South Africans, 2010
(Labour Force Survey)
London $960 2010 Annual Survey of Hours and Earnings,
Ofce for National Statistics
United Kingdom $745 2010 Annual Survey of Hours and Earnings,
Ofce for National Statistics
New York $967 2010 U.S. Census Bureau
United States $998 2010 U.S. Census Bureau
Paris $513 2009 Insee
France $446 2009 Insee
So Paulo $262 2011 Censo
Brazil $214 2011 Censo
Shanghai $105 2011 Xinhua net/STA
China $63 2011 CINIC/STA
Singapore $696 2012 Singapore Comprehensive Labour Force Survey
Sydney $962 2008 Australian Bureau of Statistics
Australia $657 2011 Australian Bureau of Statistics
Tokyo $1,070 2011 Basic Survey on Wage Structure 2011
Japan $846 2011 Wages and Labour Welfare Statistics Division,
Ministry of Health, Labour and Welfare /
NLI Research Institute
140
Appendix 3:
Shanghai Symposium
City Figure Date Source Notes
Creative industries employment
Berlin 7.5% 2006 Statistisches Bundesamt Deutschland
Germany 2.3% 2006 Statistisches Bundesamt Deutschland
Johannesburg 4.5% 2008 Gauteng Creative Industries Mapping report
South Africa N/A
London 12% 2007 GLA Londons Creative Sector
United Kingdom 5.1% 2011 DCMS
Mumbai 16.01% 2005 Tata Institute of Social Sciences
India 11.44% 2005 Tata Institute of Social Sciences
New York 8% 2008 Americans for the Arts, Creative Industries 2008
The 50 City Report
United States 4.5% 2008 Americans for the Arts, Creative Industries 2008
The 50 City Report
Paris 8.8% 2008 IAU Ile-de-France/Insee
France 3.93% 2008 IAU Ile-de-France/Insee
Shanghai 7.38% 2010 Shanghai Economic Yearbook 2011
Singapore 0.82% 2009 Singapore Cultural Statistics 2011 Economic
Contribution of the Arts and Cultural Sector
Sydney 5.3% 2010 NSW Government
Australia 3.8% 2006 Australian Bureau of Statistics
Tokyo 11.2% 2006 Yoshimoto, M. (2009) Creative Industry Trends
The Creative-Industry Proles of Japans Ordinance-
Designated Cities, NLI Research Report
Japan 4% 2006 NLI Research Institute
142
Saturday, 21 April
910.20am: City Presentations (4)
New York City and the World Cities Culture Report:
Donna Keren, Senior Vice President, Research and
Analysis, NYC & Company
Rethinking Cultural Infrastructure in an Afropolitan
Context The Case of Johannesburg and the
Gauteng City-Region: Joseph Gaylard, Director
of Visual Arts Network of South Africa,
Johannesburg ofce
10.5011.50am: Planning Session for
World Cities Culture Forum
11.50am12pm: Closing Session for
Shanghai Symposium
The Shanghai Symposium was organised by BOP Consulting and
Shanghai Theatre Academy. The Shanghai Symposium was hosted
and sponsored by the Shanghai Theatre Academy Metropolitan
Cultural Audit Centre.
Friday, 20 April
910am: Opening Session
Wei Lou, Chairman of Shanghai Theatre Academy,
Director of School Committee
Jinhai Zhu, Deputy Director, The Development
Research Centre of Shanghai Municipal Peoples
Government
Justine Simons, Head of Cultural Strategy,
Greater London Authority
Paul Owens, Director, BOP Consulting and WCCR
Ping Yu, Director of Culture and Technology
Department, Ministry of Culture, P.R. China
1011.20am: Keynotes
Theme: Cultural Wealth of World Cities
John Howkins, Visiting Professor, STA & BOP
Associate
Prof. Andy Pratt, Kings College London
Prof. Changyong Huang, Vice President,
Shanghai Theatre Academy
Kate D. Levin, Commissioner, Department
of Cultural Afairs, New York City
11.40am12.20pm: City Presentations (1)
Tokyo, A Future Model for a Creative City:
Yusaku Imamura, Counselor on special issues to
the Governor, Tokyo Metropolitan Government
Paris, A combination of a Rich Cultural Heritage
and Vibrant Culture: Odile Soulard & Carine
Camors, IAU Ile-de-France Economist Regional
and Economic Local Department

2 3.20pm: City Presentations (2)
London, A Summer Like No Other?:
Justine Simons, Head of Cultural Strategy,
Greater London Authority
Cultural and Creative industries in Mumbai:
Potential and Challenges: Prof. Abdul Shaban,
Centre for Development Studies, Tata Institute
of Social Sciences
3.50 5.30pm: City Presentations (3)
Shanghai, A Melting Pot of East and West for
Cultural Metropolis: Dr. Marina Guo, Shanghai
Theatre Academy
Istanbul Cultural Review: Esma Firuze Kyk,
Assistant Expert of Culture & Tourism, Istanbul
Ofce of the Ministry of Culture and Tourism
opposite: Shanghai Symposium 2012 STA/BOP
145
1. What are the key agencies involved in your citys
cultural policymaking (government at diferent
territorial levels, other public sector bodies,
economic development agencies, private
organisations, etc.)
[Please list the most important players within your
city and briey explain their roles. 200 words max.]
2. In order of priority, what are the main drivers of
your citys cultural policy? And are these priorities
reected in your countrys national policy?
Value of cultural participation
Heritage
Tourism
Economic development
Social development
Diplomacy/cultural exchange
City marketing
Nation-building
Other (please specify)
[Please rank the above items in order of priority.
Please also provide a brief commentary to explain
your priorities. 500 words max.]
3. What are the key developments within the cultural
sector in your city that are taking place now or
are planned for the near future? This could be
in terms of:
cultural infrastructure (includes both buildings
and institutions)
festival/events programmes
support programmes for cultural workforce
other
[Please provide a brief description of the
key developments for the areas listed above
(if relevant) or any others. 200 words max.]
4. Are there any major initiatives or events
(e.g. Olympic Games, Expo, UNESCO designation,
European Capital of Culture designation etc) in
your city that take place now or in the near future?
If yes, why do you think these will impact on the
overall cultural ofer and participation in your city?
[Please provide a brief commentary. 200 words
max.]
5. What role do informal, fringe activities play
within your citys cultural life? (e.g. photo
exhibitions in cafes). And how important do you
consider this contribution made by this fringe
economy compared to the formal cultural sector?
[Please provide a brief commentary and a list of
examples of the kind of informal, fringe activities
that are particularly important in your city.
500 words max.]
6. How are you securing the long-term, sustainable
development of the cultural sector?
[Please provide a brief commentary on the key
areas that you focus on or which need support
in terms of developing a more sustainable cultural
sector. 500 words max.]
7. What do you consider as the key cultural assets
of your city? (Assets does not exclusively refer
to cultural infrastructure, but could equally include
workforce, sub-sectors, structures, organisations,
processes)
[Please provide a brief commentary. 300 words
max.]
Appendix 4:
List of policy questions
147 146
The World Cities Culture Report 2012 is a major
new global initiative on culture and the future of
cities, which was initiated by the Mayor of London
and the Greater London Authority.
The World Cities Cultural Audit 2012 Symposium
was sponsored by the Shanghai Theatre Academy,
Metropolitan Cultural Audit Centre.
This report has been prepared by
BOP Consulting (www.bop.co.uk):
Paul Owens
Chris Gibbon
Ulrike Chouguley
Matthieu Prin
Richard Naylor
In collaboration with:
Prof. Andy Pratt (Kings College London)
Prof. Kate Oakley (University of Leeds)
This report has also beneted from the invaluable
support of our project advisors:
Alan Freeman (London Metropolitan University)
Prof. Changyong Huang (Shanghai Theatre Academy)
Dave Adam (Global Cities)
John Howkins
BOP would like to thank the British Council,
particularly the local ofces in the partner cities,
for their advice and support
The report has been produced in collaboration
with our project partners:
MAYOR OF LONDON
Designed by Fraser Muggeridge studio
Mayor of London
ISBN: 978-1-84781-515-6
8. What are the key challenges to developing
your citys cultural assets? (economic, social,
organisational/governmental, political)
[Please provide a brief commentary.
500 words max.]
9. What do you consider as unique to your citys
cultural ofer?
[Please provide us with one key feature that you
consider unique and provide a brief explanation for
your choice. This could refer to a particular event or
initiative, or another element of cultural life/sector.
200 words max.]
149 148
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