Theory Contribution

The main concept and framework of this study is to probe the relationship between a cultural flagship and a culture-led regeneration that the issue of culture inside the case of Belfast will need to discuss a ‘heritagisation’ process as well. In other words, the fulfillment in Belfast by using the Titanic heritage as their local cultural element for cultural activities (e.g. The Titanic Belfast) has been seen through the finding results that it somehow did accomplish the targets in culture-led regeneration theories, yet there are other factors that need to measure up. In fact, in chapter two the author has already modified parts of the theories into the framework that would be possible to justify and test the case study of this research (See Figure 5.1 on p.134). Reasons and results will be declared in the following paragraphs. The limitations and suggestions for future study of the framework will be stated in Chapter 5.3 and Chapter 5.4.

Figure 5.1 The theory framework for this research

A. A Culture-led Regeneration and a Cultural Regeneration in Belfast

Theories of cultural regeneration and culture-led regeneration have both been testified by many scholars through various case studies in different perspectives during decades (Biannichi et al., 1993). Moreover, its practice on establishing flagship projects have also been discussed through several studies (Evans et al, 2003). The issue of economic benefits of both methods has been argued and seen through scholars such as Keating and De Frantz (2003), Vickery (2007), and many more. Its advantages on engaging local cultures to demonstrate the uniqueness of the place and to transform the image of the place have also been explored by Gracia (2004), Lin and Hsing (2008), Miles (2005), and Miles and Paddison (2005). In contrast, the risks of diluting local meanings and its cultural values without consummate planning are another important argument that has been identified by Carey and Sutton et al (2004). In addition, a more social sphere of the use of a culture-led regeneration is one of the main focus points in this research, which this method could reinforce local identities, combat stigmatisation, improve social and community cohesion with cultural activities if well-planned (Binns, 2005; Carnegie &

Norris, 2015; Jones & Wilks-Heeg, 2004).

Therefore, after probing through scholars’ theories, practical interviews, and travel-related comments from indicative websites, the whole regeneration project of using the Titanic Belfast as a method to revitalise Belfast could be seen as ‘culture-led regeneration’

which the authorities and scholars also agreed with this notion (Alexander, 2014; Neill et al., 2014). By creating a ‘Titanic experience’ to the visitors and bring a brand new ‘image’

of this post-conflict city, they believe this effect could be executed in Belfast. In other words, the planners have seen the multiplier benefits of a cultural flagship could bring to a city for its economic potential and the possibility of re-imaging a city.

However, the cultural planning in Belfast was rather a multidimensional project after the examining which could be achieved in both short and long-term regenerating targets—it could be seen as a ‘culture-led regeneration’ in a short-term process and be seen as a ‘cultural regeneration’ in a long-term process with the analysis of the whole Titanic Quarter regeneration development. To be more precise, from the short-term regeneration perspective, the Titanic Belfast could be seen as a catalyst to boost the tourism economy by attracting both overseas tourists and local residents; moreover, re-imaged the city with something different than the complicated past (Evans, 2005; Mooney, 2004; Smith, 2006, 2009). This has confirmed by probing through the visitor comments of their feedbacks. Surprisingly, there were a number of visitors who came to Belfast specially to see this Titanic Belfast in person and some of them also agreed that this flagship project gave Belfast something new and interesting. In addition, as including the development of the Titanic Quarter area together with the Titanic Belfast, the whole project would be a fairly long-term plan of ‘cultural regeneration’ to the dockland. Hence, the demarcation line between a cultural regeneration and a culture-led regeneration in the case of Belfast might be a bit vague, yet to discuss the influence of the Titanic Belfast is rather the focus point of this research. As a result, both theories are indeed an interesting perspective and also necessary as an instrument to explore through this case study, but by using a culture-led regeneration as the major context to explore would be a bit more suitable for this study.

B. The Heritagisation of the Titanic Culture

Due to the case study of Belfast, which has quite a unique historical and cultural contradiction, a ‘heritagisation’ process must be included in this framework for further examination. The reason is that this process will be the ‘bridge’ of connecting both a culture-led regeneration and establishing a cultural flagship together (See Figure 5.1 on p.134), especially in the case of Belfast as relaunching a heritage (e.g. The Titanic) that

has not been talked since decades. That is to say, heritage itself in the process of heritagisation could be seen as an ‘element’, ‘instrument’, or ‘object’ to implement inside any cultural regeneration type. This heritagisation process is contained with a selection, transformation, and function to achieve certain social goods (Bendix 2009; Harrison, 2013; Margry, 2011; Poria, 2010; Roigé & Figolé, 2010; Sánchez-Carretero, 2015).

Furthermore, as Bendix (2009), Di Méo (2008), Gillot et al. (2013), and Harrsion (2013) claimed, the process could be understood as a cultural production, which embodies the transformation of functional ‘things’ to objects of displays, exhibition, and elements of urban design and cultural tourism developments.

The original notion of a ‘heritagisation’ process, which Walsh brought out in 1992 and agreed with Sánchez-Carretero (2015) and Smith (2009) as thinking it is a pejorative way of a historical aestheticisation, was a bit different than other recent scholars such as Ashley (2014), Bains (2013), Di Méo (2008), Gillot et al (2013), Harrsion (2013), Margry (2011), Poria (2010), Roigé & Figolé (2010), and Sánchez-Carretero (2015) have proclaimed. The theories of the heritagisation process rather focus on the social goods that it could be used in various fields, yet it was not quite constructed for being as a good testifying framework for further discussing. Thus, the author arranged and classified those scholars’ arguments with Hall and Arthur’s (1999) clarification of the four values of heritages which this study adopted it into four main dimensions: (1) The economic value and impacts of a heritagisation (Ashley, 2014; Binns, 2005; Di Méo, 2008; Gillot et al, 2013; Harrison, 2013). (2) The social value and impacts of a heritagisation (Ashley, 2014;

Carnegie & Norris, 2015; Di Méo, 2008). (3) The political value and impacts of a heritagisation (Ashley, 2014; Di Méo, 2008; Gillot et al, 2013; Littler, 2005; Park, 2014).

And (4) the cultural value and impacts of a heritagisation (Davallon, 2014; Di Méo, 2008).

As a result, by using the Titanic culture in a more exhaustive direction to probe the case of Belfast, it also enhances a brief understanding of both the use of a heritagisation in practice and its implementation. Firstly, it clearly examines the benefits and risks of implementing the Titanic culture in its planning in both tourism and other urban regeneration use, especially the establishment of the Titanic Belfast and the Titanic

Quarter. Secondly, it also explores the feedbacks from the local residents of their sense of the whole process in which the results were quite diverse. And finally, the issue of politics is about the use of heritagisation which it may somehow bring ‘expedient remembrance’

(Binns, 2013) and as a tool to consolidate the area (Littler, 2005) in the east part of Belfast.

Moreover, this method could also probe the fulfilling nature of the heritagisation process as being a ‘culture’ element’ for cultural regeneration types use, a ‘bridge’ for linking culture-led regeneration and a cultural flagship, and the topic of culture for a cultural flagship as well.

Certainly, the framework of using the heritagisation by examining the use of the Titanic culture has brought out some interesting results. However, this framework still has some defects that only contained theories with which the heritagisation process links.

It could be even complete and compact to add different perspectives for further study.

C. The Applicability of the Titanic Belfast

Establishing a cultural flagship to regenerate an area or a city is still an irresistible cocktail, as Evans (2003) has mentioned before. Considered as what Bianchini (1995) has mentioned: a ‘powerful physical symbols of urban renaissance’ (p.16), these iconic flagships or buildings planned for ‘cultural amenities’ were hoping to achieve certain advantages. Agreed by Evans, Grodach (2008, 2010), Hayes (2009), and Smith (2007), these flagships have played a considerable role which it could reimage the city and attract investors and tourists. Grodach, Smith (2009), and Sternberg (2002) also agreed that it could boost localised commercial activities and sustain environmental areas. Moreover, with combining local culture elements, Bowen-Jones and Entwistle (2002) believed that the impact of those cultural flagship projects would be impressive to engage local participation and enhance its identity. On the other hand, even though the assets by establishing a cultural flagship are difficult to resist, not to mention its huge establishing cost and operating fee, the disadvantages are still a huge issue. As Evans, Grodach and Jones (2000 cited in Smith, 2009) have argued, the flagship project might cause series copy, homogenisations, and become ‘tokenistic’ to the residents due to the disconnection

of local cultures. Therefore, considerable long-term planning is absolutely necessary (Smith, 2009), but how to evaluate the above achievement rate to understand the appropriation of its establishment and the harmonization with the main targets of a culture-led regeneration process?

Hayes (2009) worked up a cultural flagship evaluating criterion with four main themes, including ‘Vision’, ‘Design’, ‘Visitor-Attractiveness’, and ‘Location and Community Fit’. She testified through the Eden Project in Cornwall and the Millennium Dome in Greenwich as evaluating whether the flagship is necessarily planned and operated or not. However, the criterion was not comprehensive enough that she did not list out the questions of how to evaluate and did not consider with an urban regeneration process. That is why by adding Grodach’s (2010) theory to rethink the whole flagship again from a wider perspective would be more suitable, especially for examining the relationship among the Titanic Belfast, the heritagisation of the Titanic culture, and Belfast’s culture-led regeneration process.