Tartu is UNESCO City of Literature since 2015 and is widely perceived as the intellectual capital of Estonia. Marja Unt works as Tartus' City of Literature coordinator and gave us insights in Tartus' rich cultural live and international projects.
What makes your city a City of Literature and since when does it have the title?
Tartu was designated as UNESCO City of Literature in 2015. Tartu is widely perceived as the intellectual capital of Estonia and it is a city where culture, creative freedom and interdisciplinary innovation have been vital aspects of identity. The rich literary heritage and the vibrant contemporary literary scene combined with openness to new ideas are the basis of our work as a City of Literature both locally and internationally.
More about the UNESCO City of Literature Tartu
With which projects did your city apply for the title City of Literature?
Our local level action plan was based on the main objectives defined during the preparation process, these include enhancing reading habit, developing the literary scene by creating new connections and collaborations both locally and internationally, and protecting the freedom of speech and creative freedom, as well as the diversity of the literary culture.
As for the international action plan, one of our proposals was the international Bus Poetry edition that was implemented in 2016-2017. Other ideas we outlined in the application were not eventually implemented in the way they were initially envisioned but it is also necessary to point out that while it’s important to have a broader vision, the specific ideas and initiatives require flexibility in the cultural field and as, situations change new things might take priority over the projects initially planned.
How did the idea for the application come about and what did the application process look like?
The idea to apply for the City of Literature designation emerged in 2009 when a board member of the Estonian Literary Society visited Edinburgh and learned about the network. Already from the initial discussions, it became clear to many in the literary community that Tartu is fundamentally a literary city and should definitely pursue this designation. Preparing the application was a slow process for us (also affected by a pause by UNESCO in accepting applications) but this also helped to prepare thoroughly and engage many stakeholders. Several cultural and educational institutions (Estonian Writers Union, Estonian Literary Society, University of Tartu, libraries, museums, teacher and youth associations, publishers and publications, and city representatives, including the mayor) contributed to the application process.
What were your first steps after receiving the title?
Naturally, it took some time to learn about how the network works and although the application process had shaped the broader vision of our priorities and directions of development, it was initially difficult to decide which should be the first steps. For us it was very important to increase international collaboration in the literary field so we started collaborating with our sister cities quite early: during the first year we used our Bus Poetry project as a platform and started compiling a selection of texts by authors from other cities of literature, the preparation work started in 2016 and In 2017 the Bus Poetry introduced texts from 12 UNESCO Cities of Literature.
We also joined a project Drop the Mic, a Nordic-Baltic Poetry Slam networking and mobility proect initiated in 2016 by Reykjavík and Krakow and joined also by Heidelberg City of Literature and a poetry slam organization in Copenhagen, Denmark. Locally, some initiatives were already in process in 2015, for example the statute of the City Writer Grant - the grant was founded in 2016 by Tartu City Government in cooperation with Tartu Cultural Endowment and since then it is awarded every year to a writer engaged in the writing of fiction or nonfiction, who stimulates literary life in Tartu and helps to shape the city’s reputation as an internationally recognised, literature friendly city.
What does it mean for your city to be part of UNESCO’s Creative Cities? What are the advantages, what are the obligations?
Based on Tartu's experience, the membership has been a significant advantage, greatly enhancing international collaboration. Our sister cities have been a source of immense inspiration, and we've had the opportunity to participate in several outstanding joint projects. Through exhibitions and other initiatives organized by our partner cities, we've been able to showcase our writers and literary heritage internationally. Being part of the Cities of Literature network feels like being a member of a supportive global family. Perhaps most importantly, this membership has brought us many new friends.
In terms of obligations, there are, of course, those set by UNESCO, such as attending annual conferences and submitting Membership Monitoring Reports. However, I believe the most crucial responsibility is maintaining an awareness of our role in the network—staying active, responsive, open, and supportive. In our experience, the benefits of belonging to the network are directly proportional to how much we contribute.
How did the title effect the local literary scene?
Summarising the experience of the past nine years, it can be noted that the literary scene in Tartu has become significantly more vibrant and I think it’s safe to say that the number of literary events has at least doubled. While it’s difficult to pinpoint exact cause-and-effect relationships, the City of Literature designation has undoubtedly played a key role. Since 2020, Tartu has implemented a City of Literature strategy that outlines the main areas of action in the literary field. The literary community also seems more confident in its activities, with stronger national recognition of the city’s role and identity as an intellectual and literary hub. There's also a heightened awareness of Tartu's inclusion in a global cultural discourse, which has further motivated contributions. We've gained valuable insights from our partner cities, exchanged ideas and best practices, and collaborated on numerous projects. Many of our writers have participated in these collaborations, and our international residencies have fostered new friendships and partnerships over the years.
What is your focus as a City of Literature?
Some key focus areas have already been mentioned. Internationally, we aim to be an active member of the global network by introducing our city, its writers, and its literary works to a broader audience. Recently, we've also placed significant emphasis on international residencies. On the local level, our efforts center around promoting literature, including projects that bring it into public spaces. Additionally, we dedicate considerable effort to supporting the diverse ecosystem of our local literary scene by collaborating with various organizations and literary figures.
Which international relations emerged for your city after joining the Creative Cities Network? Which specific international projects could be initiated as a result?
Thanks to the network we have had the opportunity to collaborate with a number of very different cities that also have different literary scenes and cultural contexts. There have been several projects of different scale with our sister cities, for example the abovementioned Drop the Mic, our own Bus Poetry which introduces poems from other cities of literature every now and then, and a writers exchange we organised with Norwich a few years ago.
This spring we completed the so far largest collaboration project we have led since receiving the designation - Bring Your Own Utopia, a creative collaboration project initiated by Tartu International Literary Festival Prima Vista and Tartu UNESCO City of Literature. To explore the creative potential of artistic collaboration and utopian and dystopian visions, we invited five writers from other cities of literature to join forces with us. They each spent a month in residency in Tartu before the festival, collaborating with a local artist to create five new works that connect verbal art, other artistic fields, and the urban environment by May 2024. During Prima Vista 2024, the results of the project were introduced: an installation Once was mire. Siin oli soo by Norwich poet Penny Boxall, Tartu’s current city writer Maarja Pärtna, and musician and (sound) artist Liis Ring; verbal and auditory walk Walk through the times of me, you and us led by Heidelberg writer Anne Richter and Estonian musician Argo Vals, an installation Crossing by. Ásta Fanney Sigurðardóttir, a poet, visual artist, and musician from Reykjavík and Estonian artist Timo Toots; an installation by Ukrainian poet and video artist Olha Povoroznyk and Estonian artist Eike Eplik, and a storytelling event titled The Forest of Ink and Skin, created by Manchester writer David Hartley and interdisciplinary Estonian artist Henri Hütt. The project was a part of the special programme Futures Better and Worse, that belonged to the European Capital of Culture Tartu 2024 main programme.
In your opinion, what are the benefits of such a cultural exchange?
To summarize what has been implied in the previous answers, this type of cultural exchange is essential for fostering a diverse and dynamic literary scene. Such exchanges have the potential to broaden participants' perspectives, provide new knowledge, and inspire creativity.
Do you know the city of Bremen? What do you think: What makes Bremen a City of Literature?
I’ve only visited Bremen briefly, so I’m not yet familiar with all the details of your city. However, from my experience, I can say that Bremen feels culturally diverse and open, qualities I believe are essential for a dynamic City of Literature. And, of course, the way the Bremen Town Musicians are woven into the city's identity stands out. I first learned about Bremen in my early childhood, specifically through this tale.
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