DOCSLIB.ORG

Cultural Strategy for London Cultural Metropolis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cultural Strategy for London Cultural Metropolis CULT URAL MAYOR OF LONDON The Mayor’s Cultural Strategy –20 12 and Beyond METRO POLIS Cultural Metropolis The Mayor’s Cultural Strategy − 2012 and Beyond Contents 5 Mayor’s foreword 7 Executive summary 17 Introduction 1 33 Maintaining London’s position as a world city for culture 2 73 Widening the reach to excellence 3 95 Education, skills and careers 4 115 Infrastructure, environment and the public realm 5 143 Culture and London in 2012 6 155 Delivering the Cultural Strategy 165 Glossary 169 Appendix Mayor’s foreword When people talk about London and all the things that they most love about living and visiting the city, they invariably find themselves talking about culture. On any measurement you choose, you will find London and to argue strongly for the support it that London is a cultural powerhouse, justly renowned deserves and depends upon. across the world. It is a city with more museums than As Mayor of London, I want us to continue to be Paris, four UNESCO world heritage sites, nearly twice the greatest cultural capital of the world, a city that as many bookshops as New York and with more than attracts millions of people from overseas and the rest 30,000 live music performances a year. of the country each year, but also, of course, one that It isn’t just our national museums, landmark Londoners, despite the economic climate, find never- visitor attractions, beautiful buildings and illustrious endingly stimulating, provocative and enjoyable. institutions. Creativity, beauty and history resonate I want to ensure that we make the most of the throughout the city and for some, their most valued once-in-a-lifetime opportunity provided by the 2012 cultural experiences will not be a treasure in a famous London Olympics to showcase our greatest talents to museum, but visiting an art gallery in the East End, the rest of the world. watching a band play in Camden or discovering an And I want to make sure that at the local level, exemplar of 17th century baroque architecture. For the spirit of participation and engagement in culture many others of course, culture is not just a leisure is unlocked, so that all Londoners, wherever they activity but also a living – our dynamic, commercial live and whatever their background, can fully enjoy creative industries provide employment for hundreds what is on offer. of thousands of Londoners. This strategy will help us to achieve all of this All of this requires continued championing and and more.There is no such thing as a single cultural stewardship. If we don’t constantly remind ourselves agency for London, and the Greater London Authority of the value of our cultural riches, if we don’t invest is not a major direct investor in arts and culture. in our infrastructure, if we don’t protect our treasures, Nevertheless, by working closely with strategic our buildings and heritage, and if we don’t educate funding agencies, local authorities and myriad and introduce future generations to the pleasures partners from across the cultural sector, I am confident and value of experiencing and producing culture, that we will be able to work towards providing the then much of this will be lost.This strategy comes necessary support and investment, addressing the at a time when there is understandable concern within barriers that exist and put the policies in place that the arts and cultural sector about the impact of recent will allow culture in London to flourish. announcements about public funding cuts, at the local and national level.This is clearly a challenging period, but I am determined to make the case for 5 Executive summary Introduction London is one of the most significant centres of The development of the strategy was overseen cultural, artistic and intellectual life, with unrivalled by the London Cultural Strategy Group, chaired collections of art, historical artefacts and architecture by Iwona Blazwick, the Director of Whitechapel Art stretching across centuries and continents. At the Gallery.This group was established by the Mayor and same time, the city sets cutting-edge trends in is comprised of individuals from key agencies and contemporary culture, attracting the best and institutions in the sector.The LCSG has undertaken brightest of the world’s talent in the arts, fashion, a wide range of research and consultation activities film, design, music and theatre. to develop a close understanding of London’s cultural The Mayor’s Cultural Strategy recognises the sector and potential actions for the Mayor and significance of the cultural and creative sectors partners to implement. in making London a world city, and advocates The priorities for the Cultural Strategy are continued support and investment. It addresses summarised on the following pages. concerns facing the sector at a time of considerable economic uncertainty and rapid change, particularly with regards to government policy and investment, and considers how within this context it can maximise opportunities for the cultural life of London to flourish. Unlike the Mayor’s Transport or Economic Development strategies, the Mayor does not have a single delivery agency for culture and nor is the GLA a major direct funder of culture.Therefore, throughout the strategy, the Mayor identifies priorities and works in partnership across the cultural sector and London government, providing leadership and coordination. opposite: The Unilever Series: Ai Weiwei, Sunflower Seeds, 2010 Photo: Tate Photography © Ai Weiwei 7 Maintaining London’s position as Widening the reach to excellence Iris Van Herpen London Fashion Week, 2010 a world city for culture Photo: © Michel Zoeter/Courtesy of Blow PR London is renowned for its national and international London is an acknowledged centre for arts and cultural riches, but it is equally important that culture and commercial creative industries, all the city’s inhabitants have access to high quality of which make a vital contribution to London’s local cultural services. Cultural provision varies economy. Not only is the sector a major employer markedly across the capital.This is especially and economic generator, with a turnover of over the case with the outer London boroughs where £18bn, it also plays an important role in terms the sector faces particular challenges in terms of of boosting the visitor economy and ensuring resources and recognition, receiving significantly London’s position as a global capital for creativity less on average from both local and regional and commerce. funding bodies. However, maintaining this position requires The Mayor is also working in other ways to sustained investment and support. The recent improve access and participation in high quality economic downturn has already had an impact arts and cultural activities, this includes addressing on the sector, particularly in terms of a reduction specific transport issues that have been raised of private sponsorship and donations and there as concerns.The Mayor also endorses attempts are widespread concerns around the anticipated by regional funding bodies to better engage with reductions in public spending over the next the cultural sector in outer London, and for local few years. authorities to strengthen the quality of their cultural The Mayor will continue to champion the services, such as public libraries. The Mayor is importance of supporting London’s cultural sector, championing initiatives that help improve access promoting creative businesses and industry support. to culture, including events, and is doing what he In addition, the Mayor is working with the sector can to support free events and festivals that take to tackle other challenges, such as the environment place across London. and the impact of excessive regulatory policies and practices that may stifle creativity. 8 9 Yinka Shonibare MBE, Wall, 2010 Education, skills and careers Infrastructure, environment and the public realm Commissioned by the South London Gallery, sponsored by Bloomberg Photo: Courtesy the artist; Stephen Friedman Gallery, Culture can play a major role in making the lives There is a strong connection between London’s London; and James Cohan Gallery, New York of young Londoners fulfilling and enjoyable.There physical environment and its cultural oZer. It is © Andy Stagg is a huge amount of excellent and diverse work crucial that the planning and development processes being done across the city by a range of organisations. in the city continue to encourage culture to flourish However, either because of geography or socio- in the capital’s venues and public spaces. economic background, there remain a significant The Mayor’s London Plan – his spatial strategy section of young people who do not access these for the capital – is the main mechanism for achieving cultural opportunities. this aim. It explicitly addresses the role that culture Increasing access to cultural education is not will play as a strategic part of London’s future. just a case of more organisations or establishing The Mayor has also demonstrated his support for another government programme. What is needed is good urban design through London’s Great Outdoors a strategic approach that helps to coordinate existing and associated practical documents, Better Streets activities, build links between cultural institutions, and Better Green and Water Spaces that, with schools and local authorities and raise awareness accompanying investment, set out a vision for of the high quality provision on offer. In terms revitalising London’s public spaces. of music education, the Mayor is committed to The cultural and creative industries are also valued achieving this through his Making Music Matter: factors in regeneration.The Mayor is working with Music Education for London 2010–2012 strategy partners to maximise the opportunities for culture and annual Rhythm of London event. Building on to generate employment and enterprise in priority this we will look to raise the quality of educational areas such as Dalston Junction, Brixton town centre provision across all art forms.
Load more

Recommended publications
  • Mark Wallinger Study for Self Reflection
    Press Release Mark Wallinger Study for Self Reflection Hauser & Wirth New York, 22nd Street 13 September – 27 October 2018 Opening reception: Thursday 13 September, 6 – 8 pm New York… Hauser & Wirth is pleased to present ‘Study for Self Reflection,’ Turner prize-winning artist Mark Wallinger’s first solo exhibition with the gallery in the United States. One of Britain’s foremost contemporary artists, Wallinger is recognized for his rich and complex body of work, spanning painting, sculpture, installation, printmaking, video, performance, and photography. This exhibition features new paintings and two large-scale sculptures presented for the first time to an American audience. The works on view extend Wallinger’s career-long engagement with ideas of power, authority, artifice, and illusion. The theme of reflection is central to Wallinger’s oeuvre; the artist deploys it to probe questions about the psyche and the self, and to challenge our attachment to our identities and the socio-cultural mechanisms that inform them. Entering the gallery, visitors are confronted with ‘Superego’ (2016), a sculpture composed of a mirrored triangular prism rotating atop a post. Inspired by the revolving New Scotland Yard sign, which marks the entrance of London’s police headquarters, ‘Superego’ directly references this symbol of authority; Wallinger interprets the sign’s constant motion as the unremitting and omniscient eye of law enforcement. In distilling this totem, Wallinger produces an enigmatic symbol of intimidation and dominance. While the sculpture’s seductive surface appeals to our own desire for self-reflection and recognition, its position above viewers’ heads denies direct access to our mirrored image.
    [Show full text]
  • Tate Report 08-09
    Tate Report 08–09 Report Tate Tate Report 08–09 It is the Itexceptional is the exceptional generosity generosity and and If you wouldIf you like would to find like toout find more out about more about PublishedPublished 2009 by 2009 by vision ofvision individuals, of individuals, corporations, corporations, how youhow can youbecome can becomeinvolved involved and help and help order of orderthe Tate of the Trustees Tate Trustees by Tate by Tate numerousnumerous private foundationsprivate foundations support supportTate, please Tate, contact please contactus at: us at: Publishing,Publishing, a division a divisionof Tate Enterprisesof Tate Enterprises and public-sectorand public-sector bodies that bodies has that has Ltd, Millbank,Ltd, Millbank, London LondonSW1P 4RG SW1P 4RG helped Tatehelped to becomeTate to becomewhat it iswhat it is DevelopmentDevelopment Office Office www.tate.org.uk/publishingwww.tate.org.uk/publishing today andtoday enabled and enabled us to: us to: Tate Tate MillbankMillbank © Tate 2009© Tate 2009 Offer innovative,Offer innovative, landmark landmark exhibitions exhibitions London LondonSW1P 4RG SW1P 4RG ISBN 978ISBN 1 85437 978 1916 85437 0 916 0 and Collectionand Collection displays displays Tel 020 7887Tel 020 4900 7887 4900 A catalogue record for this book is Fax 020 Fax7887 020 8738 7887 8738 A catalogue record for this book is available from the British Library. DevelopDevelop imaginative imaginative education education and and available from the British Library. interpretationinterpretation programmes programmes AmericanAmerican Patrons Patronsof Tate of Tate Every effortEvery has effort been has made been to made locate to the locate the 520 West520 27 West Street 27 Unit Street 404 Unit 404 copyrightcopyright owners ownersof images of includedimages included in in StrengthenStrengthen and extend and theextend range the of range our of our New York,New NY York, 10001 NY 10001 this reportthis and report to meet and totheir meet requirements.
    [Show full text]
  • Reflections on the Cultural Olympiad and London 2012 Festival
    Photo Credits: Inside front cover – Battle For The Winds ©Maisie Hill; Page 2 – Peace Camp © Paul Lindsay/Chris Hill Photographic; Page 5 – Piccadilly Circus Circus © Matthew Andrews; Page 6 – BBC Radio 1’s Hackney Weekend - Florence and the Machine 2012 © BBC/Getty Images; Page 8 – Creating The Spectacle! © Norman Lomax, Moving Content; Page 9 – Rio Occupations © Ellie Kurttz; Page 9 – Africa Express © Simon Phipps; Page 10 – Mittwoch Aus Licht Birmingham Opera © Helen Maybanks; Page 11 – Overworlds and Underworlds - the Brothers Quay and Leeds Canvas © Tom Arber; Page 12 – Big and Small ©Lisa Tomasetti ; Page 14 – Battle for theWinds © Kevin Clifford; Page 16 – Anna Terasa Tanks ©?; Page 18 – BBC Radio 1’s Hackney Weekend 2012 - Jay-Z © BBC/Getty Images; Page 20 – Much Ado About Nothing © Jillian Edelstein; Page 23 – Speed of Light © Sally Jubb; Page 28 – Richard III © Marc Brenner; Page 30 – Branches: The Nature of Crisis © Joel Fildes REFLECTIONS ON THE CULTURAL OLYMPIAD AND THE LONDON 2012 FESTIVAL 01 CONTENT INTRODUCTION BY TONY HALL Chair of Cultural Olympiad Board 02 ONCE IN A LIFETIME Summary of Cultural Olympiad 04 THE CULTURAL OLYMPIAD AND LONDON 2012 FESTIVAL EVALUATION 18 02 REFLECTIONS ON THE CULTURAL OLYMPIAD AND THE LONDON 2012 FESTIVAL INTRODUCTION BY TONY HALL, CHAIR OF CULTURAL OLYMPIAD BOARD When London won the bid for the 2012 Olympic and Paralympic Games, we promised that this ‘once in a lifetime’ event would include a great cultural programme involving people all over the UK. When we are asked why, we go back to the example of Ancient Greece, where the Olympic Games included artists alongside athletes.
    [Show full text]
  • Underline Art & Music for the Victoria Line
    Underline Art & Music for the Victoria line Learning Guide Key Stages 1–5 To download visit art.tfl.gov.uk/underline-learning-guide 5 Foreword 30 Your Tiles (art & design, technology) 6 The Importance of Art & Design 30 Design from Nature (art & design) on the London Underground 31 Design for a Home (art & design) 6 Art on the Underground 32 Create your own ‘Nanking’ inspired 6 The Project: Underline plate design (art & design) 7 The Artists’ Commissions & Timescale 32 STEM Activities 8 The Core Values of William Morris 32 Design a Tunnel (design & technology, STEM) 9 The Arts and Crafts Movement 33 History, Geography & IT Activities 9 The Influence of William Morris on London 33 Maps Underground’s Frank Pick 33 Construction of the Victoria line 10 Design Research Unit & Sir Misha Black (history, geography) 10 Victoria line 33 Investigative Geography Project 11 The Official Royal Opening 34 A Cutting-Edge Ticketing System 11 Diagram of the Victoria line (geography, British Values) 11 Interesting Facts about the Victoria line 34 Passengers through the Ages (history) 13 Original Victoria line Design Features 35 Literacy, Photography & Music Activities by Design Research Unit 35 News from Me (literacy) 16 Ten Stations by David Lawrence 35 Through a Lens – Underground (photography) 19 Classroom Activities 36 Above ground (photography) 20 Arts Award and Underline 37 Family Activities 21 Delivering Arts Award through 37 Challenge 1: Match the Labyrinth Underline: Mapping Resource 37 Challenge 2: Which Victoria line station is this? 22 Underline
    [Show full text]
  • The Finance and Production of Independent Film and Television in the UK: a Critical Introduction
    The Finance and Production of Independent Film and Television in the UK: A Critical Introduction Vital Statistics General Population: 64.1m Size: 241.9 km sq GDP: £1.9tr (€2.1tr) Film1 Market share of UK independent films in 2015: 10.5% Number of feature films produced: 201 Average visits to cinema per person per year: 2.7 Production spend per year: £1.4m (€1.6) TV2 Audience share of the main publicly-funded PSB (BBC): 72% Production spend by PSBs: £2.5bn (€3.2bn) Production spend by commercial channels (excluding sport): £350m (€387m) Time spent watching television per day: 193 minutes (3hrs 13 minutes) Introduction This chapter provides an overview of independent film and television production in the UK. Despite the unprecedented levels of convergence that characterise the digital era, the UK film and television industries remain distinct for several reasons. The film industry is small and fragmented, divided across the two opposing sources of support on which it depends: large but uncontrollable levels of ‘inward-investment’ – money invested in the UK from overseas – mainly from the US, and low levels of public subsidy. By comparison, the television industry is large and diverse, its relative stability underpinned by a long-standing infrastructure of 1 Sources: BFI 2016: 10; ‘The Box Office 2015’ [market share of UK indie films] ; BFI 2016: 6; ‘Exhibition’ [cinema visits per per person]; BFI 2016: 6; ‘Exhibition’ [average visits per person]; BFI 2016: 3; ‘Screen Sector Production’ [production spend per year]. 2 Sources: Oliver & Ohlbaum 2016: 68 [PSB audience share]; Ofcom 2015a: 3 [PSB production spend]; Ofcom 2015a: 8.
    [Show full text]
  • Art and Society
    Art and Society Module Code 4ELIT007X Module Level 4 Length Session Two, Three Weeks Site Central London Host Course London International Summer Programme Pre-Requisite None Assessment 60% Essay, 40% Presentation Special features This module may include additional costs for museum tickets. Typical visits include the Tate Modern Museum, Victoria and Albert Museum, National Portrait Museum, Museum of London, British Museum, Wallace Collection, Serpentine Galleries, Welcome Collection. Note: These visits are not the same every year and they are subject to change. Summary of module content This module is an introduction to the visual culture of London, including painting, architecture, photography and contemporary media. Students will visit the major art galleries to examine how art works exhibitions and cultural organisations can be understood within wider social contexts. The sessions also include museums and historical sites, such as the British Museum and St Paul’s Cathedral, as well as art galleries. The classes will explore how these institutions reveal the complex cultural identity and history of London. The module develops students’ skills in visual analysis and critical thinking about culture. Learning outcomes By the end of the module the successful student will be able to: x Demonstrate ability to make a visual analysis of works of art x Demonstrate an understanding of visual arts x Demonstrate an understanding of the ways in which historical displays and sites can be related to a political, social or cultural context x Discuss the role of London as a cultural centre x Develop appropriate skills in academic presentation and writing. Course outcomes the module contributes to: Students will be able to demonstrate: NA 14 NB This module does not form part of the BA English Literature and cannot be taken by students on this pathway.
    [Show full text]
  • Summer 2021 Module Catalogue
    LONDON INTERNATIONAL SUMMER PROGRAMME MODULE CATALOGUE 2021 Introduction Welcome to the London International Summer Programme Module Catalogue 2021. The international summer programme offers students the option of studying modules from an introductory level to a more advanced level, in a given subject area. Students opting to study for the entire six-week session will take two modules in total, whilst students participating on only the three week session will take one module. Module Credits All credits obtained during the international summer school will be awarded via an official academic transcript from the University of Westminster with each module being worth 20 UK credits, which normally equates to 4 US or 10 ECTS credits. All modules must be taken on a credit-bearing basis and students will not have the option to audit any module on offer. Module Levels At the University of Westminster, modules are validated at a level corresponding to a particular year of study. The levels used are: • Level 4, which is equivalent to the 1st year of an undergraduate degree • Level 5, which is equivalent to the 2nd year of an undergraduate degree • Level 6, which is equivalent to the 3rd year of an undergraduate degree The levels used at the University of Westminster may be different to the overseas systems that you are used to. This should be taken into consideration when making module choices. Some overseas institutions (e.g. US and Japanese universities) consider the first year of their undergraduate degrees to be the equivalent to a foundation year of UK university undergraduate degree. Therefore, University of Westminster modules at Level 4 may be considered to be equivalent to modules taken in the second year of undergraduate degrees in the US and Japan.
    [Show full text]
  • The Challenges of French Impressionism in Great Britain
    Crossing the Channel: The Challenges of French Impressionism in Great Britain By Catherine Cheney Senior Honors Thesis Department of Art History University of North Carolina at Chapel Hill April 8, 2016 Approved: 1 Introduction: French Impressionism in England As Impressionism spread throughout Europe in the late nineteenth century, the movement took hold in the British art community and helped to change the fundamental ways in which people viewed and collected art. Impressionism made its debut in London in 1870 when Claude Monet, Camille Pissarro, and Paul Durand-Ruel sought safe haven in London during the Franco- Prussian war. The two artists created works of London landscapes done in the new Impressionist style. Paul Durand-Ruel, a commercial dealer, marketed the Impressionist works of these two artists and of the other Impressionist artists that he brought over from Paris. The movement was officially organized for the First Impressionist Exhibition in 1874 in Paris, but the initial introduction in London laid the groundwork for promoting this new style throughout the international art world. This thesis will explore, first, the cultural transformations of London that allowed for the introduction of Impressionism as a new style in England; second, the now- famous Thames series that Monet created in the 1890s and notable exhibitions held in London during the time; and finally, the impact Impressionism had on private collectors and adding Impressionist works to the national collections. With the exception of Edouard Manet, who met with success at the Salon in Paris over the years and did not exhibit with the Impressionists, the modern artists were not received well.
    [Show full text]
  • Board Membership
    Board Membership Film London wishes to appoint two new members to the Board of Film London chaired by Daniel Battsek. As the terms of two of our Trustees are coming to a close in September 2021, Film London is keen to attract three to four candidates to replace the skills and expertise these board members are bringing to our Board. We are therefore looking for outstanding candidates who have a substantial knowledge and experience at a very senior level in one or more of the following areas: Cinema Exhibition Film and TV Content Distribution / Streaming In addition, candidates should bring a strong commercial background in the creative industries across film, TV, animation and games. We strongly encourage applications from under-represented groups, including black, Asian and minority ethnic groups, and those with disabilities. About Film London Film London is the capital’s screen industries agency. We connect ideas, talent and finance to develop a pioneering creative culture in the city that delivers success in film, television, animation, games and beyond. We work to sustain, promote and develop London as a global content production hub, support the development of the city’s new and emerging filmmaking talent and invest in a diverse and rich film culture. Film London is funded by the Mayor of London, the National Lottery through the BFI, and receives significant support from Arts Council England and DIT. Film London also has a national division, the British Film Commission and co-owns Games London with Ukie. Film London is a registered charity, No. 1163968. Based at Film London, the British Film Commission is the government backed national body responsible for globally promoting the UK as the best place to produce feature films.
    [Show full text]
  • The Fire Station Project the Fire Station
    THE FIRE STATION PROJECT THE FIRE STATION THE FIRE STATION PROJECT THE FIRE STATION PROJECT ACME STUDIOS’ WORK/LIVE RESIDENCY PROGRAMME 1997 – 2013 1 THE FIRE STATION PROJECT Published in 2013 by Acme Studios 44 Copperfield Road London E3 4RR www.acme.org.uk Edited by Jonathan Harvey and Julia Lancaster Designed by AndersonMacgee/Flit London Typeset in DIN and Avenir Printed by Empress Litho The Fire Station Project copyright © Acme Studios and the authors ISBN: 978-0-9566739-5-4 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electrical, mechanical or otherwise, without first seeking the permission of the copyright owners and the publishers. Cover illustrations: Robert Ian Barnes Architects 2 Acme Studios is a London-based housing charity dedicated to supporting artists in economic need through the provision of studios, accommodation and professional support. Acme manages 16 buildings providing affordable, long-term and high-quality studios (620) units and work/live space (20 units). Through this resource it helps over 700 artists each year. Acme’s Residency & Awards Programme adds to this core service of studio provision by awarding selected UK-based artists with studio residencies, bursaries, professional mentoring and exhibiting opportunities at the Acme Project Space, working with a range of partners. At any one time over 20 artists benefit from this support. Acme’s International Residencies Programme currently manages 23 annual London residencies on behalf of eight agencies together with an Associate Artist Residencies programme for international artists applying directly to the organisation.
    [Show full text]
  • April 2011 No.201, Free to Members, Quarterly
    THE BRIXTON SOCIETY NEWSLETTER Spring issue, April 2011 No.201, free to members, quarterly. Registered with the London Forum of Amenity Societies, Registered Charity No.1058103, Website: www.brixtonsociety.org.uk Our next open meeting Thursday 9th June: Annual General Meeting 7 pm at the Vida Walsh Centre, Windmill re-opening 2b Saltoun Road, SW2 A year ago, our newsletter reported that the Time again to report on what we have been Heritage Lottery Fund had agreed to support doing over the past year, collect ideas for the the restoration of the mill. Since then it’s made year ahead, and elect committee members to the front cover of Local History magazine, as carry them out. Agenda details from the above. Now the Friends of Windmill Gardens Secretary, Alan Piper on (020) 7207 0347 or present a series of events, with guided tours by e-mail to [email protected] inside the mill offered on each date. Open Garden Squares May Day Launch Parade, 2nd May: A theatrical parade starts from Windrush Weekend - 11 & 12 June Square at 2 pm and proceeds to the mill This year we plan to host two events on for its official re-opening. Ends 4-30 pm. Windrush Square: On Saturday our theme is Growing in Brixton with stalls Open Day, Sunday 12 June: selling plants and promoting green ideas. Windmill open 2 pm to 4 pm. On Sunday we switch to Art in Brixton, showing the work of local artists and Windmill Festival, Sunday 10 July: encouraging you to have a go yourself.
    [Show full text]
  • The London 2012 Cultural Olympiad: a New Model for Nation-Wide Olympic Cultural Legacy
    The London 2012 Cultural Olympiad: a new model for nation-wide Olympic cultural legacy By Beatriz Garcia1 Abstract The London 2012 Games will mark 100 years of official Olympic cultural programming and aspire to present the largest Cultural Olympiad yet, reaching out to the whole of the UK and providing full integration between Olympic and Paralympic cultural activity. The original bid for culture promised to engage youth and overcome barriers to participation from all social groups. To make this aspiration a reality, the Cultural Programme is being delivered not only by a culture team within the Organising Committee for the Games, but also thirteen creative programmers based in every UK region and nation. This unprecedented management framework has been made possible by the commitment of public stakeholders to ensure the Games leave a widespread legacy and the establishment of special funding arrangements for cultural activity inspired by the Games. London 2012 has created distinct activity identifiers such as the ‘Inspired by 2012’ mark, to maximise programming inclusion without challenging established Olympic global marketing guidelines. The range of managerial, funding and promotional innovations in the context of the Cultural Olympiad have created opportunities to maximise access and engagement to Games related activity throughout the country. But it has also involved important challenges in terms of synergy of vision, communications and Games association which point at the ongoing struggle to position the Cultural Olympiad as a core dimension of the Olympic and Paralympic experience. Keywords: Cultural Olympiad, Olympic art festival, cultural policy, torch relay, branding, Olympic and Paralympic synergy, UK-wide participation, regional cultural programmes.
    [Show full text]