· · ·1198 The name of Riga is mentioned in the Chronicle for the first time · 1200 Bishop Albert and

the Crusaders arrive in the Livonian lands · 1201 The founding of Riga
· 1201 Riga’s diocese is founded (from 1251 – archdiocese) · 1202-1204 Pope Innocent proclaims the Fourth Crusade to Syria, Palestine and the Baltic countries · 1205
The first theatre performance in Riga (in Latin, with Biblical themes at the base of the play) · 1206 Livonian elder, Ako, rises up against the Crusaders · 1207 The Order
of Brothers of the Sword subordinates the Livonians, confirming them into Catholicism · 1209 Craftsmen and traders begin building St. Peter’s Church. The raising of
Dome Church with a cloister is begun. The church complex raised in the XII century now forms its central choral and altar section, although the church itself was rebuilt
several times between the XIII to the XVIII centuries · 1204 Raising of the Castle of the Diocese and Order in Riga · 1210 The Treaty of Peace and Free Trade is concluded,
according to which trade in the basin of the River Daugava was regulated between Riga, Smolensk and Polotsk. «Russkoje podvorje» – the meeting place for Russian
traders – is established · 1211 The first educational establishment, Dome School, is created next to Dome Church, where clergymen are prepared; lessons take place
in Latin; a school for German children is opened next to St. George’s Church in 1226. · 1225 St. Jacob’s Church is raised. Transition from Roman to Gothic style in Riga’s
architecture · 1225 Riga acquires city rights · 1225-1227 The Chronicle of Henry (in Latin) · 1290s Rhymed Chronicle (in German) · 1282 Riga joins the Hanseatic League
In the14th century masonry develops in Riga. Dome Church is adorned with Gothic style sculptures · 1330 The raising of Riga Castle, combining features of a
medieval cloister and fortress · 1330 A house is built, which in · 1477 acquires the name of House of the Blackheads · 1334 Riga’s new market square changes
its name – to Town Hall Square · 1352 Small Guild is founded in which German guild craftsmen unite. Riga’s patricians, the biggest traders and money-lenders,
take the city’s municipal authority into their own hands · 1354 Great Guild is founded, its members – German traders · 1352 A clock is installed in the tower of St.
Peter’s Church for the first time, a guard is also on duty here, who would ring the church tower bell in case of fire 1353 The first secular education establishment
is opened near St. Peter’s Church, where the town’s civil servants are prepared (lessons in German) Latvians create their craftsmen fraternities: · 1383 Fraternity
of Beer and Wine Bearers, 1450 Fraternity of Dockhands is established, 1469 – Fraternity of Meters. These fraternities enable Latvians to stand alongside the
German section of society · 1416 The Blackhead Society is founded – a club for young, unmarried foreign traders · 1423 Envoys of Riga, Reval (Tallinn) and
Dorpat (Tartu) conclude a trading treaty with Novgorod on behalf of 73 Hanseatic towns · 1452 Riga obtains great independence because the Livonian Order
is forced to share power over the city with the archdiocese · 1480 Livonian army attacks Russia. Grand Prince Ivan III of Moscow heads on a retaliatory military
expedition · 1484 Riga’s inhabitants battle with the Livonian Order and demolish the Castle of the Order · 1491 The Order encircles Riga and reclaims its property,
the Master of the Order commands Rigans to raise a new castle in six years. Around · 1551 the new Riga Castle is built on the shores of the Daugava · 1494
Development of serfdom in Livonian towns · 1503 In response to the attack by the Russian army in Livonia, forces of the Order, led by W. Plettenberg, attack
Pskov. An armistice is entered into between Russia and the Order, which lasts for more than 50 years – until the start of the Livonian War in 1558. Russia, the
Livonian Order, Poland, Grand Duchy of Lithuania, Sweden and Denmark are involved in the battle for the Baltic countries and outlet to the Baltic Sea · 1507
The first well-known monument to Latvian writing is issued – the Lord’s Prayer translated by Nikolaj Gisbert. During the Reformation period many take on the
Lutheran religion · 1525 Master of the Livonian Order, W. Plettenberg, allows Riga to proclaim Lutheranism. Freedom of religion is proclaimed in Riga. The play,
«The Lost Son», by Rigan, Valdis Burhards, which is directed against the [kultrix] Archbishop and Order leadership is staged in Town Hall Square. Town
Hall Square is also known for its performances by magicians and tightrope walkers, the carrying out of public punishments, a pillory and the burning of witches.
At the start of the 16th century, the streets of Old Town in Riga are established, which are still used today · 1524 The achievements of the Reformation crushed
the authority of the Catholic church and the Order. Destruction of religious icons in Riga (Lutherans do not recognise icons) · 1524 The first Lutheran services in
Latvian take place in St. Jacob’s Church · 1560 The first Lutheran church handbooks in Latvian appear 1587-1589 St. John’s Church of the Dominican Order is newly
built. For a while, in 1523, when the Dominican monks are evicted from the church, it becomes a storehouse for weapons. The King of Poland, Stefan Batory, a
devout Catholic, demands that the church be returned to Riga’s Catholic community. The first organ is set up in Dome Church · 1524 Riga’s city library is opened
· 1532-1533 The first documents in Latvian appear · 1548 One of the oldest reproductions of Riga’s panorama in German geographer Sebastian Münster’s book,
«Cosmographia» · 1562 Complete collapse of the Livonian Order. Master of the Livonian Order and the Bishop of Riga swear their allegiance to the King of Poland,
Sigismund II Augustus, giving preference to the Polish crown, instead of Ivan the Terrible · 1561-1581 Riga is a free city, no longer under the guardianship of the
Order or Bishop · 1583 Russian-Swedish peace treaty concludes the Livonian War · 1585 The first catechism in Latvian is published as a response of Counter-
Reformation and the Catholic church to Lutheranism. The persecution of Lutherans begins. · 1583 In Riga a Jesuit Council is founded, that had a ruling role in the
Counter-Reformation movement · 1588 Antwerp inhabitant, Nicholas Mollines founds the first typography in Riga · 1600-1629 Polish-Swedish War – a battle
for control of the trading route in the Baltic Sea · 1611 Sweden occupies Riga, led by King Gustav II Adolf · 1621 A strong city fortification system is established –
rampart height 9-11m, 5 bastions are raised, a citadel enclosed by ramparts and bastions. The fortification system is in operation until 1857. The old city wall that is
gradually covered with houses, serves as the second line of defence (a section of wall can be seen today in John’s Courtyard). One of the main fortification towers,
Powder Tower, or Sand Tower as it was known until the XVI century, has remained until today. During this period Riga’s municipal authority decides to cobble all
the streets the same – all farmers entering the city had to bring with them at least two granite stones · 1622 The first water-pipe is installed in Riga, the water being
taken from the Daugava with the aid of a pump · 1625 179 books are printed: 126 – in Latin, 48 – in German, 3 – in Latvian, 1 – in Swedish, 1 – in Finnish · 1628 The
King of Sweden, Gustav Adolf proclaims Riga the second capital city of Sweden · 1638 German minister, Georgius Mancelius, compiles a German-Latvian dictionary,
which is the first written Latvian lexicon collection · 1680 By order of Swedish King Karl XI the first periodical is published – the socio-political newspaper in German,
«Rigische Novellen» · 1685-1689 – Ernst Glück translates the entire Bible into Latvian · 1690 Following a fire in St. Peter’s Church, Rupert Bindenschu creates a
unique wooden steeple construction in Baroque style, as well as the church’s western façade with Baroque portals. The church retains this appearance until 1941.
Today the church’s appearance reflects that of the XVII century · 1696 The house of timber merchant E.Dannenstern, on Mārstaļu Street 21, is built in Swedish
baroque style. Travelling comedians perform their numbers in this house · 1700-1721 Great Northern War. Russia’s Tsar Peter I forms a coalition with Denmark and
Saxony for joint battle for outlet in the Baltic Sea, the main opponent – Sweden · 1709-1710 Under the leadership of Count Boris Sheremetjev Riga is enclosed by
Russian military forces. 94% of inhabitants of Riga’s surroundings die in the plague epidemic, the plague spreads to the Russian army and the inhabitants of Riga
· 1710 Capitulation of Riga. Riga comes under the subordination of Russia · 1721 The Treaty of Nystad formally enforces the new borders of Russia. In order to win the
sympathies of the Baltic German nobility, Peter I renews its former privileges, the Baltic provinces acquire special political and economic status in the structure of the
Application
for Riga as European
Capital of Culture 2014
Riga as European Capital of Culture 2014
application working group

Diāna Čivle
Aiva Rozenberga
Gints Grūbe
Egils Mednis
Solvita Krese
Ilvars Metnieks
Elīna Kuzjukēviča
Contents Riga and Kultrix 6
Challenges presented in the application for Riga as European Capital of Culture 2014 10
Goals proposed in the application for Riga as European Capital of Culture 2014 11
Promotion of creativity 12
Border expansion 15
Forms of interaction 18
Joint creation of responsibility 20
Application link with long-term development plans 21
Structure of programme of events 24
Cooperation aspects in implementing the project application 28
Cooperation institutional aspects 30
ECC year organisation and financing 31
Basic principles of the communication strategy 32
City infrastructure 34
Description of application preparation process 36

Appendix 1
City cultural development dimensions included in ‘Riga’s cultural strategy 2008-2025’ 37
Real value is hidden in the
space between words. Text
is just a form of information,
which is finished and
therefore restricted. The
value of culture is not form,
but the freedom of creative
spirit, which dwells in the
infinite space between
objects and conceptions.
Riga and Kultrix Every city has various faces. We all know possibly just a few of them. Possibly, city visitors and inhabitants
see completely different towns. Riga – cultural metropolis, European suburb, transit point between
Russia and the West, harbour town, bilingual society, city with rich cultural traditions, old town, song
celebration, Jugendstil, old wooden structures, innovations, new medias, opera, etc.

Culture is undoubtedly a significant component of this city, which cannot go by unnoticed even during
a short visit, even in the rush characteristic of today, when we don’t have time to read, observe and
obtain in-depth knowledge. In this age of visual communication short, clear messages are competitive,
shortened versions that, naturally, offer to take you to the next level, as long as you are ready to stop,
listen, think.

For Riga’s guests, possibly the first, short encounter with culture already takes place at the airport. RIX
– that is how Riga is recognised on the global map, according to its airport’s denomination. Kultrix
(Cultrix) – that is how we will recognise Riga as the 2014 European Capital of Culture (ECC), a city that
has merged with/is inseparable from culture. Kultrix is not just a hybrid of words or construction of
concepts, it is like the key to the code of Riga’s cultural space, which simultaneously encompasses both
tradition and innovation, joins everyday life forms with the elite and professional, immerses the local
in the global and hides within it an endless amount of the undiscovered and unknown. One of the
challenges faced by the European Capital of Cuture is to reveal what this Kultri[x] is and be able to
demonstrate it to both Riga’s inhabitants and guests.

Often known in Latvia as the patriarch of multi-media, the versatile, creative character Hardijs Lediņš
– architect, musician, man of letters, artist and performance master – said several years ago that ‘.....
every geographic point is capable of generating anything. Absolutely anything that can be generated.
Therefore, practically any point presents the opportunity of generating an entire scale of values’.

When looking for the [x] point, imagine the view from an aeroplane window, which, crossing Europe,
is on its way to Riga, or, the Google Earth map flickering on the computer screen. We can try and zoom
in on the view or the image, looking for a familiar place or noticing something binding or out of the
ordinary. The opportunities of the digital age let us achieve an unaccustomed closeness, allowing the
image to be transformed into pixels, self-sufficient elementary details. The Kultrix scheme could work
in a similar way, proposing to first of all notice the city, then the region, the cultural institutions, attend
an event that is taking place there and, finally, get to know the people organising the event. Culture
weaves through our everyday lives and is born from the enthusiasm, interest and desire of individuals
to be active. Through any point on the map of the world that can generate culture, we reach the people
who keep this process alive.

[x] is the unknown point on the map of a city, country or Europe, which creates and accumulates
creative energy and allows it to express itself in the most unexpected ways. It doesn’t matter if the
creative potential is concentrated in an environment with a well-developed cultural infrastructure,
which is already recognised on the cultural map, or, in a city suburb that can’t pride itself with cultural
traditions and ordered surroundings. It can just as well be in one of Europe’s metropolises, as in a
province. Transgressing and expanding the usual territorial and geographical boundaries, initiating and
stimulating the development of cultural processes on unfamiliar territory, we liberate a new charge of
creativity and can achieve surprising results.

Cultural activities migrate to the suburbs and as a result of gentrification transform the industrial
environment and degenerated territories into cultural polygons/laboratories. Short-term cultural
activities and artists’ interventions in previous harbour territories, monotonous residential areas or
languishing suburbs continue the development of new and existing infrastructures, as well as improve
the quality of life.

[x] is cultural territory, where, through the interaction of various cultural aspects, a symbiosis of new
cultural forms is created, which widens the usual borders of cultural perception and provides a new
experience. The texture of culture is created not just by its traditional disciplines; it is interwoven by

6
various forms of everyday life, which include cuisine, conversations, gardens, psycho-geographic walks
and others. The various expressions of culture are interconnected. Similarly, the global interacts with
the local. National and local culture is influenced by global/European cultural processes, which, in turn,
are fed by the specific features of the local.

Talking about global and local interaction, it is possible to develop the idea/theory about the spirit
of the age (zeitgeist) and atmosphere of a place. The spirit of the age and atmosphere of a place are
mutually connected values. Their interaction could be compared to panoramic potentiometer activity.
Turning it one way the proportion of zeitgeist increases and the presence of atmosphere diminishes,
but turning it the other way, the opposite occurs. However, the total exclusion of one factor is also not
possible – we cannot exist only in a place without time or vice versa. The system ‘zeitgeist – atmosphere
of a place’ is in a constant state of fluidity. This can be characterised as inseparable polarity, where one
pole is in a contradictory position in respect to the other.

The union of zeitgeist and atmosphere of a place in various proportions forms a unique recipe, which is
different in every place and at every time. Culture, in the broadest understanding, is a complex concept
that is difficult to comprehend. In the same way that any text is formed by words and spaces between
them, the language of culture is formed by noticeable events, cultural buildings, achievements, as well
as expressions of culture that are integrated in our everyday lives, which are not much talked about
and which are perceived as self-evident. They are like the spaces between words, like a mushroom
mycelium, of which we notice only those mushrooms that have squeezed their way above the earth,
leaving the net of branched roots unnoticed. The activities of the European Capital of Culture could
activate the diversity of cultural forms and the development of their entire spectre.

7
Challenges presented - Develop a new understanding of culture, perceiving it as broader than the development of the
specific cultural sector, expanding borders and demonstrating the effectiveness of the presence of
in the application culture and creativity in all fields as an ability to create added value and develop a positive influence
for Riga as European on people, the economy, various aspects of development of the city and society, the human race as
a whole;
Capital of Culture 2014
- Expand the borders of accessibility of culture and initiate the creation of a new form of civil
communication, in order to reach new audiences, involve existing ones and ensure their participation
in cultural processes, activating a new quality of communication culture within interest groups.

- Create common discussion in interest groups, for the surmounting of sector, territorial, social and
competence barriers and common resolution of tasks. Development of a common responsibility
and action platform on a local, regional and cross-border cooperation level, within the framework of
existing organisations (business associations, research and manufacturing business clusters), as well
as develop the creation of a new intersectional cooperation network.

Justification of challenges

For twenty years Latvia’s history has been characterised by – nationalism – segregation – Europisation –
migration – ascent – crisis – joint creation of responsibility. These processes can be considered summary
development lines, resulting from privatisation, liberalisation and structural reforms over recent years
in this region. They are processes that concern society as a whole and influence every person’s life. They
are visible and tangible processes that have long-term consequences for society and which create the
base from which the city will develop.

Creative ideas, creative approaches, creative solutions, imagination and ideas are becoming the main
economic driving forces in the world. Creativity has always been an instrument of cultural processes, thanks
to which development, cooperation, acquisition of traditions are possible, but the city has developed as
a space where creativity can take place. Creativity is what develops links between people, promotes the
development of a dynamic society and competition. Latvia’s long-term development strategy for 2030
indicates that creativity is a resource that Latvia, including Riga, as the most significant source of human
capital and partnership, mustn’t deplete, but look for new ways in which to make use of.

The fuel of creative economy is creative substance or idea resource, which is generated by talent and an
open society. The joint creation of responsibility is the quintessence of the creative process. Three things
are necessary for joint creation: cooperation between people and organisations – desire to cooperate,
practical action; cooperation institutionalisation – common standards, knowledge, values, support and
social capital – common trust, contacts.

The joint creation of responsibility is Latvia’s and Riga’s challenge for the next few years and can be
achieved by developing the potential for creativity, imagination and cooperation. Creativity is the
resource of the future, without which the joint creation of responsibility is impossible.

10
Goals proposed - Promote creativity and an innovative approach, highlighting these as deciding advancers in
cultural development and the improvement of cultural processes, because culture as an instrument
in the application for the cultivation of creative skills and improvement of the individual is the main precondition for
for Riga as European the birth of new ideas and improvement of the quality of life and culture as an event and process
of society.
Capital of Culture 2014
- Show the diversity of European culture and encourage inter-cultural dialogue, promoting the
development of a quality, new communication level between people in the Latvian and other
European country cultural sector, societies in the civil sense, different generations, social groups
and interest groups.

- Promote dialogue and understanding between cultures and nations, promoting diversity of civil
opinion and multiculturalism, thus enriching the European cultural space.

- Accentuate the need to deepen the concept of development in the city administration context,
supplementing it with a cultural dimension and underlining the fact that cultural development and
creative activity are significant factors that influence the quality of life, welfare and sustainability of
cities.

- Highlight and present the interconnections between the cultural, educational and economic
sectors, acknowledging that the synergy of these fields develops an economy based on knowledge,
highlighting the importance of the creative industry in the economy.

- Implement Riga’s cultural development vision and popularise it in Europe, thus promoting the
city’s intention to visibly demonstrate that an understanding of culture promotes human rights,
sustainability, democratic participation and creates conditions for peace.

- Fulfil Riga’s ambitions with a rapid and determined development of the cultural sector, bringing
to life new cultural infrastructure facilities in Riga’s urban landscape and developing the existing
cultural infrastructure.

- Promote the principal of participation as the basis of cultural development, which would interweave
and link civil responsibility, identity, creation, intercultural dialogue and festive atmosphere.

- Underline the importance of local cultural development, because it furthers the democratic
participation of society, multiplies social capital and balances current globalisation tendencies,
highlighting the importance of culture in a local context and promoting the rights of all city
inhabitants to culture and knowledge, discriminating no-one.

11
Promotion of creativity The creativity of every Riga inhabitant is a value that can be made use of and which needs to be
stimulated, ensuring the possibility for all to take part in cultural processes. Riga is a cultural territory
that is open to new ideas, orientated towards a wide participation of society and the stimulation of new
work, with an aim to promote a greater cultural diversity and dialogue.

- With the expansion of the concept of creativity, applying it to any sphere of life, not just
traditional fields of culture, developing a symbiosis of various sectors, thus creating new ideas, new
communication forms and actions. A new perception of culture and the broadening of the concept
of creation will stimulate the creative economy, promote the transposition of art and creativity also
onto economic and business benefits and stimulate public and private partnership.

- Creativity is the most important driving force for Riga’s development, thanks to which solutions are
possible both from the aspect of new communication forms and from the border expansion aspect.
A change in the perception of creativity would mean a creative approach in any profession or walk
of life, which, if taken advantage of, can achieve sustainable development for the city.

- Creativity anticipates the promotion of dialogue and creation of joint responsibility for the city as
a common living space, about environmental quality in the broadest sense of the word. Creativity
is what promotes the participation of various groups and individuals in the city, which makes the
creation look for forms of expression.

- With a growth in the well-being of society and the quality of city life, it is increasingly important for
inhabitants to be involved in some kind of creative activity, personal growth is becoming increasingly
significant, therefore, taking into account Riga’s development scenario, where the accent is placed
on the person, the possible uses of this potential have to be anticipated.

- The merging of the cultural and creative sectors has stimulated growth in recent years in Europe.
A need is created to develop creative industries and promote broad interdisciplinary cooperation
forms – greater social, humanitarian, science and art cooperation. This is possible by changing the
understanding of the concept of creativity. Creative industries are one of Riga’s most significant
resources, which will have a major impact in the context of long-term development.

- One of the main instruments of creativity, for achieving a change in the perception of culture
and idea of border expansion, is the use of positive provocation in relation to the everyday level
of consciousness of culture and society, and the desire for experimentation, supplementing the
traditional process of the perception of culture with provocative methods, creating new processes
with an experimental approach.

- Creativity as the main driving force of cultural development can be employed in the use of
technologies and for a change in the perception of the fact that technologies are an element
of culture, an instrument of creativity, a tool for people’s creativity. The rapid development of
technologies can be used as an instrument that permits the synthesis of various sectors, developing
cooperation between individuals and various societies. Technologies and a creative use of them
present the opportunity for cooperation in an inter-regional and global context, which, over the
coming years, will be a significant factor of cultural development of any city. In a situation where
technologies are rapidly developing and people ‘can’t keep up’, it is precisely creativity that becomes
the most significant resource of competitiveness.

12
 ‘A globalised world means that anything that can be standardised will be transferred for production to
where there is the cheapest possible labour force, therefore, outside Latvia. Competition will increase on
an individual and professional scale, which is why only those high salary countries, where many are given
the opportunity for innovation, will be competitive. The sine qua non of innovation is creativity. Therefore,
creativity, creative thinking, the ability to create within all sections of society, not just the traditional,
‘creative professions’, is an absolute necessity today. Creativity is often the merging of existing ideas into
new concepts, which is why Riga in particular has to promote the creation of inter-industry, cross-sectional,
cross-professional and cross-cultural social networks and tolerant development, thus developing a broad,
mass culture of creativity and creative class.’

‘Creativity is the ability to paint a painting, creativity is the ability to see a painting and wallpaper, and
understand that the painting’s motif can be transformed into wallpaper and propose it in a creative
manner.’

‘Creative industries – in Latvia so little known, in the EU considered strategically important fields of
economic activity. At the same time they mark border transgression and the creation of aspects of new
communication points – business and culture, various cultural fields, international cooperation, etc.’

‘Creativity is freedom and self-assurance. Mutual respect. Respect towards cultural heritage, environmental
values. Cultural education of a new generation. Tolerance, understanding, culture of mutual relations.
Knowledge of the creators and pioneers of Latvian culture, environment, heritage. The acquisition of
creative skills and abilities from an early age.’

‘I think that life itself is a kind of creative project because at every instant we come in touch with new
situations. Each moment is unique, you have to resolve it and you need new ways of thinking.’

‘Creativity – anyone can be creative. Children are creative, yard sweepers and trolleybus drivers are creative.
The problem is that they are not named correctly. The intelligentsia has privatised creativity as its unique
property.’

‘Every person has some kind of creative energy, ideas. It doesn’t matter if he is or isn’t an artist. The main
thing is that he doesn’t focus it only on a choice of goods, domestic and material items, but either creates
a piece of art or expresses himself in the creation of something new, even if on an amateur level. There are
many different ways in which people can be creative, the main thing is that it isn’t concentrated uniquely on
some kind of consumer culture.’

‘Using a creative approach, we need to promote new ways of communication that broaden existing
borders in people’s consciousnesses, the so-called Riga culture extends beyond the city borders – not just on
a Latvian, Baltic Sea region or European level, but also on a global level.’

‘’Borders – have to be expanded, as a result of which synthesis is created between two differing opinions,
processes, forms, content, colours, sounds, etc. Border expansion is a synonym of evolution, which expresses
this process through action.’

‘The implementation of such a large project could help expand borders not just between various cultural
spheres, but also between sectors.’

‘Borders – the simplest – the merging of various fields and industries, dismantling traditional understanding
of spheres – technology + art + sport etc. ‘

‘The dismantling/expansion of borders seems to me to be an eternal problem with which Latvians, and
people in the cultural sector in particular, have always had a problem.’

* Focus group member quotations have been used in the application for the illustration
of the validity of the concept.

14
Border expansion The idea of border expansion in the context of the Riga as European Capital of Culture concept,
encompasses the idea of the expansion of the borders of both space and time, with the aim of making
full use of the possibilities provided by existing human capital and infrastructure, which is Riga’s most
important resource and which can ensure the sustainable development of the city in the future. In
Latvia’s situation Riga has amassed both cultural and spiritual potential, which can be put into effect
as a mobile centre, where movement would mean the promotion and mobility of creative potential.
The idea of a mobile centre of creativity envisages the participation of Riga region and cooperation
partners in other parts of Latvia and Europe.

Notion of spatial border expansion

The idea of spatial border expansion within the concept of Riga as European Capital of Culture centres
on the currently dominant cultural forms being transferred to a different geographical space – outskirts,
residential areas, out of the centre, stressing the idea of culture as a changeable centre of events. The
starting-point is the current concentration of culture in the centre, while the suburbs continue their
life on the periphery. Through border expansion suburban cultural space is created anew, turning
depressed city regions into locations for creative and cultural events.

The spatial aspect of border expansion also includes the expansion of borders with, for Latvian and
European societies, the construction of new, significant cultural infrastructure facilities (the new Latvian
National Library, which will not only connect Latvia’s regions with a common information network,
but will also develop intellectual and information cooperation networks with other country databases;
a new Modern Art Museum, which will include Riga in the network of contemporary art processes,
marking it as a new location for cultural dialogue on the map of contemporary cultural processes) .

Conscious of Riga’s dominance in Latvia’s spatial structures and the growing intercity migration in
Latvia, the border expansion concept also includes aspects of regional cooperation, developing forms
of cultural cooperation between various Latvian towns and regions that will decentralise cultural events
and put into practice the common use of infrastructure, thus encompassing as wide a cultural field as
possible and developing new forms of cooperation. The ‘Mobile Centre’ idea, which is included in this
concept, envisages the participation of Riga as European Capital of Culture in any location in Latvia,
where it is possible to create and make use of existing infrastructure, promote the creation of new work
and new forms of cooperation.

The spatial aspect of border expansion includes an interdisciplinary approach through a change in
the understanding of the concept of culture, developing an infrastructure that is open and necessary
for the creation of new work and the possibilities of creative expression in various spheres of public
life, which up till now have not been considered a part of culture, promoting the development of the
creative industry in Riga and Latvia.

The idea of border expansion also includes the idea of Riga as a geographical and cultural transit city,
which would mean the attractiveness of Riga for other towns in Europe and the world, in the context
of the world’s globalisation tendencies, attracting creative people from other towns in Europe and the
world, which would promote the development of a creative environment in Riga and the creation of
new ideas.

Through the idea of border expansion culture becomes not just a resource for participation, but
also a significant instrument for the development of political, economic and diplomatic ties, which
is possible, taking into account Riga’s geographic location and historic cultural ties – a bridge
between East and West.

15
 Border expansion time aspect

- The concept of border expansion from the time aspect includes predicting – what will be in six, ten
years, who will be the potential users of culture/participants of the creative process in 2014 and in the
long-term, focusing attention on work with potential target audiences already today.

- Border expansion from the time aspect includes work with a generation that is open to other,
untraditional forms of the use of culture, leading us to research and predict, what forms of culture the
younger generations are using now, in their formative years, and what could be their development in
the future.

- Border expansion from the time aspect includes prediction in the context of demographic changes
and economic globalisation.

- Border expansion in a dimension of time confinement – accessibility of culture at different times of the
day and night, which opens up a new dimension of perception and cultural experience.

‘Migration of the centre =suburb in the centre, centre in the suburb.

The everyday as art =art as the everyday.’

‘Culture is an interdisciplinary phenomenon, which feeds off the symbiosis of various sectors. It is not
a frozen dogma. Changeability and the ability to react with precision to what is happening is one of its
qualities. The cultural environment of every city is different, similarly to food, which is made up of different
ingredients. Culture can have several axes in a city, several centres of gravity.’

‘Latvians are in themselves a kind of border. A border beyond which the unfamiliar or unknown begins.’

‘Depressed areas really are very important. It would be important to think about this target audience,
it shouldn’t be those who do attend events to a greater or lesser extent, but, if it is the city, then it should
encompass the entire city.’

‘It is important to not simply build a house that creates an impression of culture, but to do a great deal more
around it, organise transport and all the rest.’

‘It’s important to promote that mini creativity in every area, every part of town, to search,
find and support it.’

‘A fundamental requirement is an appropriate infrastructure, a social and urban cohesion, creative

economy in the form of support for various projects. The question is, will this discussion be topical in 2014
when we are European Capital of Culture? We are talking about this moment, but in 6 years Riga will be
different. Which of all the mentioned aspects will still be topical? We have to concentrate on those questions
that will still be topical.’

16
Forms of interaction - In recent years the consumption of culture has grown in Riga, which means that people are ready
to devote time and financial resources to this sector. Research indicates that the majority of Riga’s
inhabitants are satisfied with the level of possibilities available to them to attend cultural events, but
the tendency towards a transitional society, which has resulted in alienation, disassociation, loss of
social ties, has completely excluded cultural instruments such as the development of ties through
new cooperation forms, which are possible, if we look at the potential of participation of the city’s
inhabitants.

- Creativity through the idea of border expansion will promote wide cooperation between individuals,
the centre and suburbs, generations, other towns, regions, countries. Riga, with its human capital
and infrastructure will promote the creation of this form of cooperation. The demonstration of
cultural events is a self-evident part of the Riga as eventual European Capital of Culture project,
however, the main goal is to create a cultural process, in which existing consumers of culture are
interested in participating in, but the main task is to create new interaction forms, in order to involve
new audiences.

- Making use of the potential of creativity, imagination and cooperation, it is possible to create
cooperation networks around Riga, including individuals, institutions, businesses, towns and
countries in the search for forms of cooperation, creating the possibility of new cooperation forms
through new infrastructure facilities or breathing life into existing ones.

- It is important to achieve a change of accent in Riga and Latvian society as a whole, from the
consumption of culture to participation, from a passive consumer of culture to a change in attitude
towards any kind of creativity. This includes a re-evaluation of values in society, which means a
search for new forms of interaction.

- A characteristic of creativity is the desire for expression, a need to find an appropriate form for one’s
creativity, which provides further impulse to look for interaction with other partners with similar
interests, in order to find an audience for the expression of one’s creative skills and their evaluation.
That is why it is necessary to support new forms of cooperation, which would stimulate creativity in
every Riga inhabitant, and creativity can therefore be the most significant impulse driving Riga as
Capital of Culture.

- Developing cultural forms that are not based on material, spatial or artistic media typology, but
rather within the concept of the audience, mutual communication and political intention, a platform
for participation is created. The epicentre of the meaning of a work of art/cultural process shifts
from the object to a new type of experience, which it provokes. The dialogue between the audience
and the artist acquires the status of a work of art, participation becomes the deciding factor in the
creation of a work of art. Similarly to Umberto Eco’s definition of the principle of an open work of
art, which states that a work of art is only finished when it comes into contact with the audience, the
involvement of society in the cultural process reveals a new cultural dimension.

- Successful interaction is a vital component for the positive development of a multicultural and
civil society. Culture, in this situation, is a tried and tested device, in promoting dialogue between
cultures and civil society.

- Ethnocentricity creates a symbolically restricted space. Taking into account Riga’s ethnic
specifications, through border expansion and creativity as a value, the possibility of looking for
dialogue ties between various ethnic groups exists, thus promoting an exchange of ideas, developing
society’s receptiveness towards different cultural experiences.

- Research shows that it is possible to develop a culture of philanthropy in Latvia, which would help
overcome the tendency towards mutual isolation that exists between various sections of society
and provide the opportunity for the majority of inhabitants to fulfil their human capital.

18
 - The prosperity of a city needs ideas and the will of individuals, but it also requires a synthesis
of thoughts and cooperation. Not just through the efforts of individuals but also as a result of
cooperation can we create new products and services. It is necessary to provide opportunities for
enterprising, creative people to try something new together.

- The contemporary public arena, which serves as a platform for interaction, is often identified more
as a psychological rather than physical construction of space. It works not so much as a real category,
but as an ideological artefact, a contradictory and fragmentary structure. The public arena is also
defined as a politicised social product, which cannot be separated from conflicting social relations
that are created by specific societies at specific moments in history.

- Latvia has developed informal social networks (family, friends, acquaintances). Taking into account
the high level of trust in these informal social networks, they can be used as a significant resource
for the promotion of forms of creative participation, and the public bringing to life of these forms in
a new format that is useful for development of the city and society.

- Global economic tendencies create a need for the promotion of global cooperation and Riga,
as the most significant Baltic transit point, can be a good bridge for ensuring this type of global
cooperation between similarly orientated creative groups and individuals elsewhere in Europe and
the world. In implementing the principle of a mobile centre, Riga, as European Capital of Culture
2014, becomes a kind of Greek agora, where the most diverse scale of interaction of cultural ideas
and exchange of thoughts takes place.

- The construction of the new cultural infrastructure facilities (LNL and Modern Art Museum), which is
taking place in Riga at the moment, will become part of European and global information circulation
processes, allowing Riga to be chosen as the location for new ideas, testimony of excellence,
developing types of cooperation forms that would not be possible without the construction of
these infrastructure facilities.

‘The theory exists that at the base of communication between any two people is: you for me – me for you.
There is no such thing as disinterested communication.’

‘We are a fairly diverse society. The new solution, creativity, is in the search for common points of contact.
Creativity isn’t in ethnic difference, but in the coming together and creation of a new world.’

‘The newest modern technologies help interest groups incorporate into a common cultural process and
promote the accessibility of the field of culture to each and every, which relates to the expansion of borders.’

‘That would be the highest level of creativity, if we were all able to talk about clear things in clear language.’

19
Joint creation - These days there are fewer and fewer problems that can be resolved just individually. The same can
be said about making use of opportunities. The accent of Riga’s concept is on individual freedom
of responsibility and creativity, which determines legal capacity, which in turn creates a need for cooperation – to
search for collective solutions for creativity. Collective solutions are a result of global development
tendencies, where the individual, town, country and society cannot be looked at distanced from
processes going on in the world. Our concept envisages the following collective solution – through
creativity to border expansion with new forms of cooperation.

- Joint creation is not just the fundament of Riga as eventual Capital of Culture, it is a vision of the
development of the city, which will be transformed into reality and which envisages the overcoming
of sectorial, territorial, social and competence barriers and the common solution of tasks. The city
has to be based on socially accepted ideas (in Latvia, Europe, the world), otherwise it comes into
conflict with goals for sustainability.

- Riga has many fields in which creative minds can expand, if they are aware of the need
for collective solutions – fashioning the interaction of the city and regions, polycentric
development, creation of new businesses, improvement of marketing, alternative energy sources,
environmental and IT technologies, university competitiveness, use of new infrastructure facilities.

- Individualism is viewable as a resource for the development of collective solutions and the
furthering of joint responsibility. The city is a statement of this creative process as an event of
collective participation. This is why one of the main key words is currently mutual cooperation – on
an individual, municipal and national level. *

‘Development is born form the depths of the individual, but it also comes from the collective spirit, if one or
the other is missing, development is hindered.’

‘We live in a time that could be called an awakening from globalisation. Liberalism, which promoted this,
is going out of fashion. Various crises – rise in fuel prices, increasing food prices, climate threats, brooding
regional conflicts – wake us from the globalisation dream (nightmare) and we can feel that everything
must change – the economy has to be more ecological, production – science consuming, food – healthy,
way of life – sustainable, politics – responsible, society – united. Globalised markets will have to become
narrower and regain a part of their roots and local characteristics.’

* Philosopher Tālis Tīsenhofs’ ideas have been used in this chapter.

20
Application link with Riga can be attributed the function of regional cultural centre, which is expressed both on a national
and international level. Riga has significant cultural institutions (National Opera, Latvian National Theatre
long-term development and others). Many cultural events take place in Riga, whose importance can be valued not just on a
plans local but also a national scale. In 2008 Riga’s cultural strategy for 2008-2025 has been approved. The
cultural strategy has been worked out taking into account Riga’s long-tem development strategy up to
2025, national political guidelines for culture for 2006-2015, the national programme ‘Culture’, as well as
international political cultural documents, including ‘Agenda 21 for Culture’.
The goal proposed by Riga’s cultural strategy is to study the current situation as broadly as possible
and progressively react to the positive and negative factors, define the city’s political cultural strategic
development directions in the long-term, develop a new understanding of culture and its positive
influence on various city administration and social development aspects, substantiate the place and
role of culture in the city’s politics as a whole, highlighting the fact that city culture politics have to be
understood on a broader level than simply the development of the specific cultural sector.
‘Riga’s cultural strategy 2008-2025’ as the city’s direction for political cultural strategic development,
proposes four dimensions, within the framework of which the cultural sector in Riga will develop:

Dimension (D1): Development of an educated, proficient society that respects culture

Dimension (D2): Creative diversity
Dimension (D3): Development of a quality cultural environment
Dimension (D4): Targeted and effective planning
(Application appendix Nr 1 – extended dimension priorities.)

Riga’s application for the status of European Capital of Culture in 2014 is part of Riga’s cultural
strategy. Cultural sector activities in Riga are part of the common city development strategy, part of the
city’s image, culture is an integral part of the city’s mission and vision. Riga’s cultural strategy action plan
envisages answers to the following questions – how does culture influence the development of a city
and of the country as a whole, taking into account that Riga is the capital of the nation, what effect on
culture does the development of the city have in the context of national development, what are Riga’s
positions on the European cultural map.
At the centre of Riga’s long-term development strategy is the human being. Riga’s cultural strategy
action plan is linked to the document ‘Riga’s development programme 2006-2012’, so that when decisions
are made regarding matters proposed in Riga’s development programme, the role and connection of
the cultural sector with all of Riga’s administration and city development matters is properly evaluated.
The role of culture is manifested in every one of the themes proposed in Riga’s long-tem development
strategy:

- City environment development and planning;

- City development budget creation;
- Attraction of investments from various local, national, international or specially created funds for city
development;
- Elaboration and implementation of various projects for city environment development;
- Optimisation of city administration activities, based on priorities and goals proposed in the
strategy;
- Integration of common city development interests, priorities, goals and tasks into separate sector
development strategies, concepts, plans, programmes and action plans;
- Information and education of society, as well as raising of public activities and awareness in the city
development field.

One of the most significant documents on which Riga’s cultural strategy is based is ‘EUROCITIES
Agenda 21 for Culture’, which was approved on May 8, 2004 at the 4th Municipal Council Forum on Social
Inclusion, which took place as part of the World Culture Forum ‘Barcelona 2004’. This document testifies
to the determination of municipal councils to visibly demonstrate that the understanding of culture
promotes human rights, sustainability and democratic involvement, and creates conditions for peace.
‘Agenda 21 for Culture’ indicates an acute need for the deepening of the notion of development in the
context of city administration, supplementing it with a cultural dimension.

21
 ‘The programme proposed by the capital of culture should be very creative in the broadest sense of the
word with an outstanding ability on the part of the organisers to predict future tendencies regarding
new communication forms, audiences and their interests. Taking into account the rapid development of
technologies, this can seem a very big challenge’.

‘Making high quality culture more accessible to all city inhabitants, for example, through some free of
charge or publicly well exhibited events. Offer Riga’s visitors culture (contemporary), not just history or
entertainment. Put the accent not just on novelty, but quality. Not be afraid of provocative, alternative
expressions, as long as they are not an end to themselves.’

‘Culture can be anything that improves a person, in an educational, emotional and new experience sense.
That can mean cuisine, an evening conversation, as well as a bird-watching experience’.

‘The outcome, result, has to be universal enough to cross borders, it has to be comprehensible, interesting
and valuable outside a local context. It has to embody values of tolerance, so that the border crossing
is unoffending, safe, productive and constructive. Creativity has to express itself as new solutions to old
problems – unexpected, surprising, hypothetical, risky’.

‘New audiences could be attracted purely through untraditional fusions .... a merging of disciplines.’

‘If a person has been in contact with traditional culture – folklore, ethnography, he or she has become
enriched, enriched his or her possibility to look into the 21st century from various positions. That cultural
historic heritage can be found in basically all sectors. Language is one of them.’

‘Cultural projects/events in untraditional locations, culture goes to the people, cooperation between various
social groups, patronage, charity. The city for the people, the people for the city. Interaction of various fields
of art. 1+1=3.’

‘Graffiti, traditional dance, mushrooming, events in untraditional locations (market, bus terminal,
underground RIMI, car park, abandoned park, graveyard) and, during border expansion – at night...
Activating various social group and minority culture (gypsies, chess players, goths, and others). Activities,
where various age groups interact (old and young people, for example), international artist and cultural
worker cooperation.’

22
Structure of programme The ECC principal programme will be carried out in 2014, but, in preparing the programme and
implementing the communication strategy, individual events will be chosen, which are significant in
of events both a Latvian and European context, in order to involve Latvian and European audiences and prepare
the 2014 programme. The following examples can be mentioned: School Youth Song and Dance
Celebration in 2010, Nationwide Song and Dance Celebration in 2013 (in 2003 the Latvian, Estonian
and Lithuanian song and dance celebration traditions were included in the UNESCO list of Masterpieces
of oral and intangible cultural heritage of mankind).

Manifesta is one of the most noticeable and significant events on the contemporary art arena, whose
specific features are defined by its nomadic character. Every year it takes place in a different European
city that allows the international dimension to be supplemented by local characteristics. Discussions
are being held regarding Riga as the location for Manifesta in 2012.

Riga city will support the Latvian Book Guild’s initiative to re-submit their candidature for title of World
Book Capital, which has been awarded to towns and cities by UNESCO since 2001 for investment in the
popularisation of books and promotion of reading.

The principal programme will include events that correspond to the principles and goals proposed in
the application. The challenge of border expansion calls for the dismantling of the traditional cultural
sector classification, inviting us to look at the notion of culture from a new cross-section.

Cult-RIX DNS code MATRIX

Cult-NET – Communication culture: generosity, philosophy, politics, society...

Cult-VISION – Vision culture: fine arts, design, multimedia...
Cult-HOT – Excess culture: circus, farce, extreme sports...
Cult-ACT – Movement culture: games, dances, sport, walks...
Cult-CARE – Health culture: nature, movements, food, clothing, ergonomic home...
Cult-HABIT – Tradition culture: ethnography, traditions...
Cult-RING – Sound culture: singing, music, city noise...
Cult-SHOW – Enjoyment culture: marvels, entertainment, fashion, cuisine...
Cult-TEXT – Word culture: literature, poetry, theatre...
Cult-SURROUND – Environment culture: architecture, infrastructure, interiors...
Cult-CASH – Money culture: investments, games, adverts...
Cult-NEXT – Art of life

Riga’s programme for ECC year will be developed from various groups of events:

- Events created specifically for ECC year.

- International cultural events in Riga.

- International meetings and conferences.

- Inhabitant participation programme.

- Riga’s annual calendar of events, which will have references to the ECC project principal themes.
For example, every year special themes are chosen for Riga’s annual festival. Developing these, cultural
events are used as a catalyst for city environment development, improving inhabitants’ quality of life.

- Festivals. The Riga festival target programme implemented in 2007 envisages long-term cooperation
between Riga city and festival organisers, in order to ensure financial stability, allowing organisers to
plan the festival process long-term. 43 festivals have been supported in this programme in 2008.

24
Some examples for the ECC programme:

These days the creation of new and lasting values in architecture is a challenge. Aware of a
responsibility towards history and the future, three cultural edifices are in creation, which will be a
testimony to Latvia’s creative development. The building of the Latvian National Library, Riga Concert
Hall and Contemporary Art Museum are the largest state investments in culture and its infrastructure
ever. The Latvian National Library, Riga Concert Hall and Contemporary Art Museum – the most
significant projects in 21st century Latvia and its capital city Riga. These are Riga’s future symbols and
mark a turning point in establishing the city as the metropolis of Baltic culture. The authors of each
building are exceptional architects of their generations. The library has been created by Gunārs Birkerts,
who was born in Latvia and lives in America, the author of the Concert Hall is a luminary of the new
generation of Latvian architects Andis Sīlis, and the Contemporary Art Museum design is the work of
world famous Dutch architect Rem Koolhaas.

Latvian National Library. The building of the Latvian National Library is the largest and most
significant state initiative in the 21st century. The library building, which is also known as the ‘Castle of
Light’, will become a centre of information, culture and social life, as well as a striking city landmark and
Riga symbol. The Latvian National Library is supported by UNESCO, which, in 1999, adopted a resolution
inviting member states and the international society to offer all support possible for the implementation
of the project. In 2008, the construction work for the Latvian National Library has begun. The ‘Castle of
Light’ will open its doors to the public in 2012. More on the project: www.gaismaspils.lv

Riga Concert Hall. Riga’s Concert Hall and the Latvian National Library will be next to one another,
forming a new cultural object group on the left bank of the Daugava. The UNESCO World Heritage Centre
has recognised Riga’s Concert Hall as an example of quality architecture that will be an elegant addition
to the city’s new centre. Riga’s Concert Hall will not only be an example of outstanding architecture and
a symbol of the city, it will also give its visitors the opportunity to enjoy a unique combination of acoustic
and technical quality. The building will hold three halls – a large hall for academic music performances,
a small hall and an experimental hall, which will be adaptable for various genres of music. Riga’s Concert
Hall will also have wide public areas and space for musicians’ everyday work, including rehearsals. It is
planned to build Riga’s Concert Hall by 2013. More on the project: www.koncertzale.lv

Contemporary Art Museum. The Contemporary Art Museum will be developed in a historic
building, in the previous power station on Andrejsala. This territory, which was once a harbour, will be
transformed in the next few years into a modern and attractive neighbourhood, similar to Soho in New
York or Notting Hill in London. The Contemporary Art Museum will be a multi-functional cultural centre
with exhibition halls covering an area of four thousand square metres, conference and cinema hall,
computerised information centre, a library and archive, as well as space for art pedagogy and project
workshops. The Contemporary Art Museum will not just reflect the symbols of national identity, which
are a confirmation of Latvia’s visual art heritage, it will also become a testimony to Riga’s significant role
in 21st century European cultural processes. Together with the elaboration of the building project, the
collection of the Latvian Contemporary Art Museum is being established – the work is being selected
by an international expert committee approved by the Ministry of Culture. The general sponsor of the
collection is ‘Aizkraukles Bank’, which has allocated 1 million LVL for purchases over a ten year period.
More on the project: www.camriga.lv

The ‘Latgale’ suburb of Riga does not have a single culture centre and this is why the ‘Latgale’
suburb multifunctional culture and art centre is a necessity for this territory, in order to develop the
function of culture. The centre would be intended for the spending and organisation of free time for
suburb inhabitants, also proposing a diverse cultural education programme. The centre will also house
a branch of Riga municipal library.

World Choir Olympics. One of the most vivid testimonies to the viability and popularity of the
choir tradition is undoubtedly the Song and Dance Celebration, which, despite the various times, has
remained uninterrupted for over 135 years. This summer the Song and Dance Celebration gathered

25
 almost 40 000 participants from the whole country. The Latvian government, together with Riga City
Council and Celebration supporters, has proved several times since the regaining of independence,
that it is able to organise a high level event with several hundred thousand total celebration visitors.
The choir tradition, which is deeply rooted in tradition and still very dynamic in Latvia, encouraged
the Latvian Ministry of Culture and Riga Council to turn to the organisers of the World Choir Olympics to
officially nominate Riga as a candidate for the location of the World Choir Olympics in 2014.

International choir festival and competition ‘Music Inspiration Landscape’. In 2007 the 1st
International choir festival and competition, ‘Music Inspiration Landscape’, was organised by RCDC
Concert organisation Ave Sol, together with cooperation partners form Lithuania and Austria, with the
support of general sponsor, joint-stock company ‘Mortgage and Land Bank’, and the European Union
programme, Culture 2000. The project set the foundation for an internationally significant forum for
information exchange and creation of new work in the choral music field (and communal singing
as such), organising a European level Song Celebration, popularising the awareness of a common
European identity, explaining the values of the diversity of European culture. The untraditional form
of singing – the bourdon, as a unique form of music, which is characteristic only in very few countries
in the world, was chosen as an unimposing type of cultural education and an example of the common
identity of European nations.
One of the unique characteristics of the festival is the search for the harmony of the human voice
and nature’s landscapes, organising festival events in special, untraditional locations, travelling round
Latvia, and also travelling in the programme, from the oldest singing traditions found and preserved
in specific regions to the musical calling cards of European member states. The 2nd International choir
festival and competition ‘Music Inspiration Landscape’ is planned for the summer of 2011 in Riga and
Cēsis, putting the stress on events promoting intercultural dialogue and the joyful being together of
European citizens, when the programme events of the next festival are developed.
The 3rd International choir festival and competition ‘Music Inspiration Landscape’ is planned for 2014
in Riga, with the closing event on the Mežaparks open-air stage, with its acoustically highly sonorous
and quality stage, which has just undergone general reconstruction. The festival ‘Music Inspiration
Landscape’ will promote cooperation with choir music associations, conductors, composers and choirs
of European towns, in particular Riga’s partnership towns.
An original and interesting festival programme that reflects European musical calling cards and the
models of Latvian traditional art in a rendering never heard before, art and music master classes and
workshops that will promote intercultural dialogue.

Cities on the Edge. Riga plans to become part of the ‘Cities on the Edge’ cooperation network, which
includes towns like Marseille, Napoli, Istanbul, Liverpool, Gdansk and Bremen. Conscious of the common
problems characteristic of harbour towns, for post-industrial territory development, multicultural society
(in Riga’s case bilingual), Riga hopes to develop a string of interdisciplinary, various format events, which
would mark out the interaction of culture, urban development and social aspects.
An interdisciplinary contemporary culture manifestation/biennale, which would mark out a regular
art event, whose focus would be the city. The biennale would take place on various city territories,
paying particular attention to city suburbs, integrating the local inhabitants, developing periphery
infrastructure, promoting the decentralisation of culture and offering event participants a captivating
psycho-geographic journey around lesser known parts of the city. The biennale would introduce a
string of events that would mark out the interaction of urban culture/development and art (seminars,
conferences, exhibitions, artist residences and creative laboratories).
A body of interdisciplinary educational events that are geared towards both an increase in
professional capacity and the education of a broad section of society. The intention is to develop an
international art critic and art curator study programme, which would fill the currently void education
niche and promote the preparation of competitive specialists who would be able to increase sector
quality and promote integration in the international cultural arena. It is hoped to also organise a regular
cycle of lectures and discussions about themes concerning art, culture and intersectional themes,
where all interested parties would be invited. Within the framework of these events, audiences would
be encouraged to participate, being involved in talks and discussions concerning the theme discussed
and topical matters.

26
 Festival Mobility Project. The ‘Festival Mobility Project’ involves partners from towns that are part
of the international cooperation network ‘Baltic Metropoles’: Riga, Helsinki, Tallinn, Vilnius and Warsaw
will work together to improve festival creative and organisational aspects. The aim is to develop a
festival cooperation network in order to promote international cooperation between various festivals,
support the international movement of artists and producers and improve common understanding
and knowledge about festival organisation.

European festival ‘Opera and School’. The aim of the project ‘OPUS 1’, European festival ‘Opera and
School’ is to develop a cooperation network for professional children’s and youngsters’ musical theatre
and opera production and music education, create new musical theatre and opera productions for
children and youngsters, promote the creation of new librettos and compositions for children’s musical
production needs, exchange educational experiences regarding the training of music and theatre
educators for work with young audiences, promote children’s and youngsters’ understanding of art
and the values of music. Within the framework of the project, partners from Riga, Kemnica, Modena,
Athens, Prague and Luxemburg will work together to improve musical theatre and opera productions
for children and youngsters.

Festival Inspiration Riga. Traditionally, in other European cities, summer is the time for major
festivals. Riga is rapidly regaining its central position on the Baltic economic map. Major international
business and representation offices are choosing Riga as their regional centre. Riga would also like to
nominate itself as the home of professional, international academic music festivals.
The national organisation ‘Latvian Concerts’ is proposing a new initiative, the festival Inspiration
Riga, an international symphonic music festival with the participation of the best European and
world orchestras and conductors. This is an opportunity for cooperation with other European capital
cities, with Riga’s partnership towns, inviting the academic music calling cards of European member
states – symphonic orchestras and well known conductors on the one hand and, popularising Latvian
orchestras and developing joint cooperation projects on the other. The festival is setting a goal of being
included in the circle of major European festivals, confirming Riga’s, as Latvia’s capital city, presence in
the context of the most significant European cultural events.

27
Cooperation aspects in The European dimension in Riga’s application to the status of European Capital of Culture will be
reflected most overtly by cooperation at different levels. The city of Riga is an active participant of several
implementing the project European and global city cooperation networks, including in the cultural field. In the last few years,
application especially since the accession of Latvia to the European Union, the participation of Riga in European Union
co-financed projects has been increasingly active. Riga has many partnership cities and active connections
on a global and European level, as well as in the Baltic Sea region. Riga’s cooperation partners in Latvia
are national institutions, other municipalities in Latvia and the Riga region, academic institutions, non-
governmental and private sector partners.

Territorial aspects of cooperation

It is envisaged that cooperation from the territorial aspect within the framework of ECC will be
implemented at the following levels: Riga, Riga region, Latvia, Baltic Sea region, Europe, the world.

Riga’s principal aspect of cooperation implementation takes the direction from the city centre to the
periphery, within the boundaries of Riga city, Riga region and further throughout Latvia. The centralisation
of various resources in Riga with the implementation of the principle of a mobile centre in the ECC project
will mean the development of infrastructure, decentralising the placement of developed cultural facilities
in Riga (the building of a new culture centre in the‘Latgale’suburb, the reconstruction of the‘Ziemeļblāzmas’
(Northern Lights) cultural centre built by patron of art Augusts Dombrovskis at the start of the last century
and the regeneration of its historical structure territory, the transformation of the warehouse zone in the
central market into a creative district).

The mobile centre in the Riga region and on a national scale will mean participation in developing
the 2014 cultural programme and shifting the centre of attention to other places in the region and
Latvia, which will propose events appropriate to the programme concept and the idea of the European
Capital of Culture. Riga will invite towns in the Riga region to follow the example of Sigulda in expressing
their willingness to participate in developing the year’s programme for the European Capital of Culture.
(Sigulda’s application is attached in addition.)

Baltic Sea region cooperation will be based on the Northern dimension policy framework document
determined by the European Union. Special emphasis will be placed on cooperation with the Swedish
city that is nominated European Capital of Culture 2014. Riga is prepared to cooperate with any Swedish
city that is nominated for this status. Riga has had discussions with the Swedish candidate cities (Kalmar,
Lund, Goteborg, Umea, Uppsala). Specific cooperation plans can be worked out following the first
selection phase, although during various discussions with these candidate cities, potential directions for
cooperation have already been outlined, regardless of whether the towns are nominated for ECC status or
not. For example, Umea in its potential cooperation with Riga wished to stress the Northern dimension,
drawing parallels with Latvian and Northern Swedish indigenous peoples, the Livonians and the Sami.
The oldest Latvian association in Sweden operates in Uppsala. Priceless sources of Latvian history are
kept in the University library of Uppsala, Latvian philosopher and writer, Zenta Mauriņa, found refuge
in Uppsala following the 2nd World War, at whose house the President of Latvia, Vaira Vīķe-Freiberga
unveiled a memorial plaque on 1st April, 2005, in the presence of Swedish King Karl XVI Gustav and Queen
Silvia. With the town of Gävle the angle of cooperation is – access to culture for everyone – relating to the
working group led by Riga in the Eurocities cultural forum. On the other hand, cooperation with Lund on
a project about how youngsters spend their spare time is currently already being implemented.

Cooperation on a European scale will be built on the European Union Lisbon Strategy and will develop
existing cultural cooperation networks, as well as form new cooperation networks through projects
supported by European funds.

Riga expresses an interest for potential cooperation with any city in the world that has aims close to
those proposed in Riga’s concept. One of the possible cooperation projects is the World Choir Olympics
that could take place in Riga. Riga Council and the Latvian Ministry of Culture have officially declared their
readiness to the World Choir Olympics organisation committee to organise this event in Riga, in 2014.

28
 Cooperation institutional aspects

Cooperation of European and Latvian Cultural Institutes

The cooperation principles of Latvian and European cultural institutes are formed by general
human and European values, as well as national interests in the cultural field. Based on these,
international cooperation links are maintained at international level and between municipalities and
non-governmental organisations, as well as between private companies and corporations.

The city of Riga supports and organises the representation of and active participation at the most
important international cultural events – exhibitions, festivals, forums, annual fairs and competitions.
The hosting of significant international cultural events in Riga is determinedly supported. During the
preparation period for the European City of Culture year, the city of Riga will continue to support long-
term and regular cooperation with the cultural institutions and professional cooperation partners
of various countries and regions, to ensure the creation of high-quality cultural products for the ECC
programme in 2014.

Cooperation with institutions in other spheres (expanding borders)

Riga’s application envisages promoting cooperation between cultural institutions and partners in
other fields, to confirm the significance of creativity in promoting the development of any field. Various
academic institutions, for example, The University of Latvia Literature, Folklore and Art Institute, Music
Academy, Art Academy, Literature Centre and others, may be regarded as principal cooperation partners
in this aspect, involving these in the ECC year preparation phase, to create determined monitoring,
analysis and scientifically grounded forecasts of ongoing processes. Similarly, the role of such
institutions is invaluable when developing projects that demonstrate the interaction of several fields. On
implementing the theme of border expansion, any institution, company or non-governmental structure
may become a cooperation partner in the implementation of ECC. This broad partnership is a challenge
for creating a provocative creative solution polygon for the cultural programme of Riga as ECC.

Informal connections (NGO’s)

On inviting informal cultural organisations to cooperate, Riga wants to encourage and strengthen the
capacity of non-governmental organisations and their ability to implement specific cultural functions
independently and in the long-term. From this aspect cooperation with creative unions is particularly
important: Union of Artists, Union of Composers, Union of Writers and others.

30
ECC year organisation ECC Office
and financing To ensure administration of the project, an ECC office will be created in Riga Council’s Department of
Culture (RC DC). Riga Council’s Department of Culture is responsible for the implementation of Riga’s
cultural strategy, co-ordinating structures involved and supervising the implementation of the strategy.
At the same time, the DC is a structure with many years of vast experience in organising events on a
grand scale: the annual Riga Festival, annual European White Nights in Riga, European traditional art
and culture forum Europeade in 2004, co-organiser in the largest national level cultural event, the Song
and Dance Celebration (39 000 participants), the Festival of Light (new long-term initiative in 2008) and
others. RC DC is also responsible for city design. RC DC is the organisation in the city of Riga whom Riga
Council has tasked with securing international cultural connections and implementing international
projects, in creating the image of Riga. Taking the aforementioned into account, the creation of the ECC
office, as the principal process management structure, in the RC DC is a logical step.

The ECC office functions will include:

- preparation of all documentation required for the ECC nomination process;
- contact with the European Commission, especially during the surveillance phase;
- organisation of competitions and selections as necessary;
- operation of financial flow;
- supervision of implementation process of the infrastructure development projects.

ECC Artistic Council

To ensure the development of an independent concept of cultural events for the programme for the
European Capital of Culture year, an ECC Artistic Council will be created. The Council will be in charge
of the programme composition and its implementation. Its structure will include 3 directors (Artistic
Director, Programme Director, Communications and Marketing Director), who will be chosen by way
of selection process, as well as independent experts in professional fields according to the specifics of
the composed programme. RC DC envisages that the fulfilment of event organisation functions will be
carried out by both physical (individual) and legal persons.

The Artistic Director’s task will be to develop a programme that reflects the guidelines of the drafted
application. The Artistic Director will recommend and the Artistic Council will determine the criteria
for inviting artists and project implementers. Technically, selection procedures will be carried out by RC
DC, which has many years of positive experience, regularly advertising for project applications for the
division of city budget resources for the implementation of creative cultural projects.

The Artistic director will be selected in 2009. Criteria for selecting the Artistic director:
- in-depth knowledge of current trends in the Latvian and European cultural field;
- ability to analyse and justify opinions about topical cultural processes and events;
- interdisciplinary and social vision about society processes;
- experience in management positions or process management;
- foreign language skills and experience in international cooperation.
Descriptions of all director functions will be specified during the second phase of the application.

ECC Supervision Committee

The ECC Supervision Committee will include representatives from all the institutions involved in ECC
(Ministry of Culture, Riga Council, regional cooperation partners, support committee management
etc). Sigulda Regional Council has officially declared its willingness to cooperate with the city of Riga
in the organisation of the European Capital of Culture year. Its chosen representative will be included
in the Supervisory Committee.

31
 The tasks of the Supervisory Committee are to:
- monitor the progress of the project preparation and implementation;
- perform the monitoring of finances;
- resolve all strategic management matters.

Financing

The common resources for the financing of the European Capital of Culture project will be developed
from various financial resources. These will be Riga city budget, state investment, cooperation partner
financing (Sigulda City Council), European fund financing and sponsor financing. An indicative yearly
budget plan is attached in appendix Nr. 2.

The European Capital of Culture project budget will be made up from two parts:
1. Operating expenditure;
2. Capital expenditure.

Operating expenditure will be made up from three parts:

1. ECC year programme costs;
2. Marketing and publicity costs;
3. Salaries and administrative costs.

Capital expenditure can be distributed thus:

1. Development of new cultural infrastructure facilities;
2. Investments in the improvement of city cultural infrastructures;
3. Investments in city infrastructure connected to cultural facilities.

Sponsoring

Sponsoring is a business where everyone who decides to invest resources wants to be convinced of
the expediency and efficacy of the investment. For the financing of the European Capital of Culture
project it is intended to work out a strategy for attracting sponsors, inviting experienced experts
and developing a clear investment assessment system. At the base of it will be the principle of
co-partnership, involving business people and patrons of art who are ready to support the project in
both the establishment of the programme and project monitoring. It is intended to establish a sponsors’
council, whose representative is part of the ECC supervision committee.

Strategy aims
Basic principles of the
communication strategy The aim of the communication strategy is, using communication tools, to achieve a transformational change
in society – attract new audiences to culture, provide new cultural experiences to existing consumers of
culture. Based on the goals proposed in the application concept, wide access to culture, wide provision of
cultural understanding in the interdisciplinary aspect and, from the territorial and intercultural dialogue
aspect, achieve a new level of quality in the life of society.

Target audiences

The target audiences have several cross-sections:

- Territorial – housing estates; city centre; Riga region; partner municipalities throughout Latvia; Baltic Sea
region (specific emphasis on Sweden), Europe overall, the world;
- Digital generation – representatives of society that are reachable through electronic information
sources; society groups that do not use or have access to the latest technologies;
- Social and interest groups – addressing of various social and interest groups to promote cultural
experience and achieve the objective of an integrated society.

32
Time scale of tasks

Expanded version to be submitted at the 2nd round of application:

- End of 2009 – PR about Riga as European Capital of Culture 2014.
- 2010, 2011, 2012 – promotion of the recognisability, popularity and trust in the brand name and
principal elements of the concept and the values emphasised in them; activation of the concept
principal elements through preparation period project communication campaigns.
- 2013 – marketing activities, social publicity messages; PR about the pending Capital of Culture Year and
its activities.
- 2014 – widespread communication campaign.

Principal task elements

Popularity – word of mouth

- social internet portal for culture www.cultrix.lv – instrument for information, audience participation and
attracting volunteers.

Identification – reactive communication (pull)

- noticeable, ‘controversial’ and expressive logo;
- advertisements in the websites of Riga Council and potential ECC cooperation partners, informative
materials, public events, presentations, press releases, interviews with officials, advertising banners in
organisation interior;
- internet banners in other portals that address corresponding target audiences;
- exchange internet banners with portals that are no smaller in terms of number of users and that
address corresponding target audiences.

Trust – proactive communication (push)

- agents for European Capital of Culture – voluntary ECC missionaries visit schools, workplaces,
supermarkets;
- ‘intelligent’ spam – personalised invitations to e-mail addresses; letters that can be forwarded (attractive
slideshow, video) with a stimulus to look at the ECC website and send letters on;
- information on the ECC website about various events, where the website is mentioned as an informative
supporter on advertising materials for the event (tickets, invitations, posters, and other ATL and BTL
material);
- ECC website organises various competitions that are reflected in the press, referring to the name of the
website; the website publishes the results of its user statistics, questionnaires and tests that reflect new
trends in the website user society, thereby acquiring the attention of the mass media and publicity.

Communication channels

- website Kultrix.lv, Latvian, European internet media, press, TV, radio;

- Riga’s cooperation networks – Swedish partner city in the status of European Capital of Culture 2014,
Riga’s partnership towns, European Association of Capital Cities, EUROCITIES cultural forum, Association
of European Cities and Regions for Culture Les Rencontres, NGO’s and informal networks;
- direct instruments of communication.

Proposed resources for implementing information and publicity events:

For the years 2010-2014 – average 14,3% (varying between 7,2% to 23,9%).

Plan of information and publicity events: to be submitted at the 2nd round of application.
Management and supervision of the communication process: to be submitted at the 2nd round of
application.
Crisis communication action plan: to be submitted at the 2nd round of application.

33
City infrastructure How accessible is Riga on a local, national and international level?

Air traffic
Latvia has several airports the biggest of which is the ‘International Airport Riga’. The towns of Liepāja,
Venstpils and Daugavpils have smaller airports. Airport Riga is ten kilometres from the city centre. Airport
connections are provided by buses, mini-buses and taxis. The trip by taxi from ‘International Airport Riga’
to the city centre takes about 15 minutes. International Airport ‘Riga’ is the largest international air traffic
network in the Baltics and it continues to develop. In 2007 airport ‘Riga’ served 3, 16 million passengers,
which is 26,7% more than in 2006. The airports of Tallinn and Vilnius served 1, 7 million passengers each
in 2007, therefore last year airport ‘Riga’ served 92% of the total of passengers served by Tallinn and
Vilnius. At the moment it is possible to fly to 60 direct destinations from Riga airport. 18 airline companies
currently operate in airport ‘Riga Latvia’s national airline ‘AirBaltic’ offers flights to all major European cities,
as well as to the Far East and the USA. ‘AirBaltic’ also has local flights from Riga to Liepāja and Ventspils.

Roads and bus traffic

Latvia has a well developed road network, whose connections with neighbouring countries ensure road
transportation in any direction. Financing in the road sector is growing every year and, as a result, the
quality of the roads has visibly improved. Regular bus transport movement is ensured between Riga
and Latvia’s largest towns. Travel from Riga to Liepāja, the furthest town to the west of the country and
Daugavpils, the town furthest east, takes about three and a half hours. It is possible to travel by bus from
Riga to Europe’s largest cities. These routes are provided by the passenger bus companies ‘Eurolines’ and
‘Ecolines’. Riga International Bus Station is the largest passenger bus service point in the Baltics. The joint-
stock company ‘Riga International Bus Station’ has had a quality management system in place for over
three years, which is successfully maintained and developed. Riga International Bus Station is part of the
European passenger bus network, ensuring a broad variety of services, information provision and service
quality management, using the ‘Baltic Lines’ system.

Rail traffic
Regular passenger rail traffic between Latvia’s largest towns and within the Riga region is ensured.
There are also several international routes, for example, from Riga to Vilnius, Moscow, Saint Petersburg,
Truskavec, and Simferopol.

Ferry traffic
Regular ferry traffic from the ports of Riga and Ventspils is available, travelling to Swedish and German
towns.

Public transport
Regular public transport movement is ensured in Riga and Latvia’s largest towns (buses, trolley-buses,
trams, mini-buses).

How many tourists can Riga provide with accommodation? (Central statistical bureau data 2007)

Type of establishment Number of establishments (end of the year) Number of beds (end of the year)

Total 99 11329
Hotels 72 9432
Guest houses 13 447
Motels 2 61
Tourism and recreation centres 1 12
Youth hostels 10 1157
Camp-sites 1 220

Hotels Number of establishments Number of beds

Total 72 9432
***** 4 892
**** 9 3036
*** 28 2659
** 1 60
* 4 438
none 26 2347

34
Description of application When preparing Riga’s application for the status of European Capital of Culture 2014, the Department
of Culture used an open approach, with methods that provide the opportunity of integrating the
preparation process opinions, interests and requirements of players of various cultural fields into the application.

Preparation of the application was entrusted to a working group formed especially for this purpose,
composed of professionals able to analyse and take a general overview of the cultural field in the
broadest sense of the word, in a narrow professional sense, and in connection with other fields, as
envisaged by the principal conditions of the application.

The first phase analysed surveys that served as one of the sources for the development of the application.
In creating the application the following surveys were taken into account: ‘Creative industries in Latvia’,
‘Accessibility of Culture in the Regions: survey and expert interviews’, ‘Take-off. Latvia 2030’; research
centre SKDS surveys carried out for Riga Council on the opinions of Riga inhabitants regarding the field
of culture and the overall conditions of the quality of life in Riga.

During the course of preparing the application, interviews, interdisciplinary and cultural expert focus
groups were organised, as well as other methods used. The opinions of focus group participants are
used in the content of the application as additional justification for the principles proposed in the
concept. The working group decided to include the programme of events conceptual guidelines in
the first phase of the application process. If Riga is nominated for the second phase the 2014 events
programme will be worked out in more detail, with the participation of interested institutions and
cooperation partners.

A serious and important preparatory phase involved informing and addressing Riga’s international
cooperation partners in case of further cooperation developing, should Riga be chosen as European
Capital of Culture 2014. As Riga has many partnership towns, they were informed of Riga’s initiative
and readiness to become European Capital of Culture. The governors of many cities have expressed
their support for Riga, as well as confirmed their keenness to cooperate and respond to various Riga
initiatives.

At the annual General Assembly of the Association of Capitals of the European Union in Dublin,
October 13-15, 2008, the governing body of Riga Council informed the Mayors of European Union
capital cities about Riga’s conceptual proposal for the status of European Capital of Culture. Up to
1st November of this year, Riga has already received letters of support for Riga’s candidature from 17
European capital cities.

At the EUROCITIES cultural forum, where the issue of European Capitals of Culture is in focus, the
city of Riga heads one of four forum subgroups with the title ‘Cultural Access and Entitlement’. The
group includes representatives from Dublin, Krakow, Berlin, Vilnius, Leipzig, Goteborg, Warsaw,
Lublin, Bergen, Nottingham, Birmingham, Geneva, Malmo, Edinburgh, Turku, Antwerp, Prague,
Bordeaux, Dortmund, Helsinki and Tallinn. Riga has presented the basic principles of its application
and proposed launching the development of a common people to people project, to gather
information about common and differing interests of the inhabitants of participating cities, to
promote city cooperation at the level of its inhabitants.

Riga has submitted information about nominating its candidature and cooperation proposal to all
international institutions, in which Riga is represented, for example, informal cultural network partners
of the European White Nights (Paris, Rome, Brussels, Madrid, Bucharest, Valletta) and the network of
world gastronomy cities Delice.

36
Appendix 1 Dimension Priorities

D1: The development of an educated, P1: Access to culture for all Riga inhabitants
City cultural skilful society that respects culture

P2: The role of education and lifelong learning
in promoting the creation of new work
development and employment
dimensions included P3: The role of culture in bringing together
individuals and communities
in ‘Riga’s cultural
strategy 2008-2025’ D2: Creative diversity P1: Support and investment for structures
(institutions, industries, organisations)
that ensure cultural and artistic processes,
absorb and multiply the creative
potential of Riga
P2: Support and investment in the creation
of ‘cultural quarters’ that are inexhaustible
sources of creativity and economic potential

D3: Creation of a quality cultural environment P1: A balanced distribution of culture

throughout the capital city, not just a limited
number of specific locations
P2: Exploration and maximisation of the
potential of public places in the city
P3: Attraction of investment and new creative
potential (inc. human resources) to the city’s
cultural institutions

D4: Targeted and effective planning P1: A flexible model of cultural

financing that corresponds with Riga’s
changeable demography, is able to react to city
development and is coordinated with the city’s
common budget sections
P2: Maximum economic gain from the cultural
industries concentrated in the capital and
creative potential
P3: Riga as an international cultural centre and
destination point for cultural tourism

37
38
 ri[x]
kult
Russian Empire. Various goods manufactured in Russia are exported to Europe via Riga: grain, wooden materials, linen, hemp, tar etc. Salt, herring, spice, manufactured
goods enter Russia from Europe. Riga becomes Russia’s most significant trading port in the Baltics · 1721 By order of Peter I, the Garden of Viesturs is created in Riga,
where approximately 30 450 trees are planted · 1738 A teachers’ seminar is founded in Valmiera, where Herrnhut preachers are prepared, who taught Latvians to read
and write, and who had nothing in common with Catholic priests. The Herrnhut Movement began in Saxony and to a certain extent followed the Puritan Movement in
England in the 16th century · 1743 German nobility manages to prohibit the Herrnhut Brotherhood Movement, which is forced to work illegally · 1765 In the name of
Empress Catherine II, Governor General Browne in the provincial assembly expresses proposals for improving the situation of farmers 1774 The first collection of secular
poems in Latvian is issued – G.F. Stender’s «New Popular Songs» · 1774 Stenders popularises scientific ideas and achievements in the «Book of High Wisdom» · 1782 The
first public theatre is opened in Riga · 1789 The first secular prose in Latvian comes into circulation –Stender’s «Stories and Tales» · 1789 The first Russian educational
establishment in Riga is opened – Catherine’s School · 1796 The first descriptive work about Latvians is published by Garlieb Merkel, the book «Latvians», in German.
· 1800 Riga’s beach (now Jurmala) becomes a popular recreational place with Rigans. From the 1820s Jurmala and Riga are linked by regular coach traffic · 1795-
1801 G. F. Parrot carries out research in the electrochemistry field in Riga, collaborating with chemist and pharmacist D. Grindel, who in 1803 founds Riga’s Society
of Chemists and Pharmacists. This is the first society of chemists in the Russian Empire · 1803-1810 Grindel issues the first journal of chemistry and pharmacy · 1806
«Songs of Blind Henry» is published. Blind Henry is the first Latvian to have a collection of poems published · 1807-1809 The first collection of Latvian traditional
songs is published · 1812 Napoleon’s army occupies the province of Courland, but does not capture Riga. Threatened by the army, the suburbs of Riga are burned,
creating preconditions for the current layout of streets and buildings · 1819 Abolition of serfdom in Livonia · 1822 The Association of Riga’s Physicians is founded ·
1822 The first newspaper in Latvian, «Latvians’ Newspapers», is printed in Jelgava · 1822-1832 Following the abolition of serfdom, Latvian farmers are given surnames
1824 The Latvian Friends’ Society is founded – a Latvian literary society, created to promote the development of the Latvian language and culture · 1820s The first
steam engines appear in Riga’s factories. The transition from manufactory production to industrial production takes place, overall using machinery · 1830-1834
Two examples of late-Classicism style are built – the Arsenal and War Hospital. Classicism also emerges in paintings, and as a result woodcarving and monumental
decorative paintings are seen less and less. Artists increasingly focus on paintings of city scenes of Riga and genre paintings (K.Fehelm, J.C.Brotze, K.G.Grass), at the
end of the century the graphic genre develops (J.C.Brotze). Decorative metalwork becomes popular · 1837-1839 German composer R. Wagner works in Riga’s German
Theatre and organises musical evenings in the House of the Blackheads, where apart from W. Mozart, S. Bach, L. Beethoven, G. Rossini, R.Wagner’s first compositions
are heard – overtures «Rule, Britannia!» and «Columbus» · 1833 The first secular choir song for four voices in Latvian is published in the newspaper «Latvians’ Friend».
Choral singing is promoted by the church and school · 1834 The Society of History and Antiquity is founded · 1835 A law on factories determines the rights of workers
and the length of the working day (14-16 hours) · 1838 The first industry and craft exhibition is opened in Riga · 1841 Kuznecov’s faience factory is founded, where
a porcelain production unit is created after 10 years · 1850 The independent diocese of Riga’s Russian Orthodox Church is founded · 1857 Riga’s Technical Society is
founded · 1857 A Latvian bookshop is opened (W.F.Gecker’s typography) · 1850-1880 The national awakening of the Latvian nation · 1852 The first telegraph line
is established and omnibus traffic is opened · 1862 The first Latvian higher education institution is opened – Riga’s Polytechnic · 1862 The first Sports’ Organisation
– Riga’s Gymnastics Society is founded · 1868 The founding of Riga’s Latvian Society · 1869 The first original Latvian play is created – Adolf Alunāns’ «Self Raised» ·
1869 City Art Gallery opened in Riga (today the National Art Museum) · 1870 Riga’s Latvian Theatre is founded · 1873 The I Latvian Nationwide Song Celebration ·
1879 The first Art School is opened · 1883 Riga’s Russian Drama Theatre is opened · 1885-1889 Following the general Russian example a police and court system
is organised. Control of social life transfers from the Baltic Germans into the hands of Russian civil servants · 1891-1913 Latvian music is popularised with «Autumn
concerts» · 1894 For the first time in Latvian literature the issue of women’s rights is touched upon in Aspazija’s play «Lost Rights» · 1896 First cinema séance in
Riga · 1898 Jugendstil enters Riga’s architecture 2nd half of the 19th century Riga becomes one of the most significant cities in Russia, industry and trade flourish
1900-1903 The world’s economic crisis overtakes Latvia · 1902 The most performed play in Latvia is created – Rudolf Blaumanis’«Tailor Days in Silmači» · 1905 Rainis writes
the most significant example of symbolism in Latvian literature – the play «Fire and Night» · 1905 The city of Riga’s electric power plant begins work · 1907 Russian-Baltic
Wagon factory begins to produce its first automobiles · 1907 F.A.Canders begins his research in the field of interplanetary flights and rocket theoretical calculations in Riga
· 1909-1913 Rapid economic development in the territory of Latvia, connected with the rise of Russia’s industry · 1910 Riga’s symphonic orchestra commences
work · 1910 An exhibition by futuristic artist group «Union of Youth» is organised in Riga and the first avant-garde manifest in Latvian is written · 1911 The first
permanent ballet troupe in Riga starts work · 1912 Riga Zoo is founded · 1915 Evacuation of industrial companies in connection with the approach of the 1st World
War front-line · 1918.18.11 In Riga, Latvia is proclaimed an independent state · 1919 The Academy of Art, Conservatory, Latvian National Theatre and National
Opera, Central Library and the University of Latvia are unveiled in Riga · 1919.11.11 The Bermondt army suffers defeat near Riga · 1920-1921 Signing of the Peace
Treaty between Latvia and Soviet Russia. Western countries recognise Latvia de jure · 1920 Daile Theatre, Reiters’ Choir, Museum of Foreign Art and the Latvian
Culture Foundation are founded · 1921 The Herder and French Institutes are founded in Riga · 1921 Latvia joins the League of Nations · 1925 Latvian Radio goes
on air · 1931 In New York, work is completed on the 102 storey high skyscraper Empire State Building · 1935 The Monument of Freedom, built with donations
from the people, is unveiled in Riga · 1937 A large number of ethnic Germans leave Latvia · 1937 The world’s first miniature camera, the VEF Minox, invented by
inhabitant of Riga Walter Zapp, begins to be manufactured in Riga · 1940 The Red Army occupies Riga. Development of the Soviet system · 1941 The first mass
deportation to Siberia · 1941 The German Army occupies Riga. Mass elimination of Riga’s Hebrew population · 1944 Soviet forces occupy Riga. Renewal of the
Soviet system · 1946 Foundation of Latvian SSR Academy of Science (today Latvian Academy of Science) · 1947 Trolleybuses begin to operate in Riga · 1949 Second
mass deportation from Latvia · 1954 Latvian Television goes on air · 1961 First ‘Art Days’ in Riga · 1963 Riga’s Film Studio is built · 1964 Orthodox Cathedral goes
under state subordination, the Science house and planetarium are unveiled in the former church building · 1965 Riga’s passenger harbour is opened · 1974 Airport
«Riga» goes into operation · 1988 The first international cinema forum «Arsenal» takes place · 1988 The start of the third awakening for the renewal of Latvian
independence · 1989 On the 50th anniversary of the signing of the Molotov-Ribbentrop pact, supporters of Latvian, Lithuanian and Estonian independence join
hands to create a human chain, «Baltic Way» from Vilnius, through Riga to Tallinn · 1990 Approval of the declaration «For the renewal of Latvia’s independence» ·
1991 Latvia is proclaimed a free democratic state, adopted into the UN · 1994 The removal of Russian military forces from Latvia 1998-2001 The 800th anniversary
of Riga · 1998 The historic centre of Riga is included in the UNESCO List of World Heritage Sites · 2004 Latvia becomes a Member State of the EU and NATO.