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Written Evidence Submitted by Festival UK* 2022

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Written Evidence Submitted by Festival UK* 2022 Written evidence submitted by Festival UK* 2022 DCMS Committee inquiry on Major cultural and sporting events Submission by Festival UK* 2022 INTRODUCTORY STATEMENT We recognise that this DCMS Select Committee inquiry has specific terms of reference but think it useful to reflect on the important role that public events in general – not just the major events mentioned by the inquiry – have in bringing people together, often from very different walks of life and backgrounds. Public events have succeeded in this for decades. With so many events planned for 2020 and 2021 having to be cancelled their return in 2022 will contribute to the overall beneficial impact of a unique year, as we continue to emerge from the Covid pandemic, and the population gets used to mass public gatherings once again. Event organisers always undertake detailed research and analysis on participation. Though a unified way to measure their social impact is still to be established1, it is proven that public events both large and small deliver local, national and international platforms for beneficial social connectivity. This might be through attraction to a common ground of shared interest, or reflective commemoration or attraction to a concept, or simply for personal pleasure of something different or unusual to collectively do. In doing so, public events represent spaces for people to share important moments in time and collective release. In 2022 this sense of release, and the prospect of something to look forward to, is likely to be even more keenly felt. From weekly football matches, to music festivals, to the fabulous variety of events that celebrate the multitude of diverse communities throughout the UK, there are thousands of events, both large and small, creating opportunities for people to come together each year. These shared spaces help connect people and communities in ways that might not ordinarily happen in their daily lives. Through the many events that reflect the diversity of the UK, events open opportunities for interaction and greater understanding between communities. So, while large-scale or ‘mega’ events may attract the most attention, they operate within an ecosystem that includes mid- and small-scale events staged daily in their thousands across the UK. One cannot exist without the other, so it is vital to support our world-beating events industry through education, skills and funding, and the ambition and innovation that is the bedrock of success. Large-scale events can create several responses. The opening and closing ceremonies of the London 2012 Olympic and Paralympic Games, for example, were a massive exercise in storytelling, presenting narratives about British history that were deftly contemporary. While reflecting on the past, it considered who “we” are, as fluid and diverse, with a range of perspectives. At the same time, the opening and closing ceremonies of the Games also offered spectacle and excitement on the grandest scale. Not only were they presenting a multi-faceted vision of who we are as a country, they inspired an emotional response, with audiences in the London Stadium and watching globally on television connecting through the epic production, colour and energy. An emotional response can also be observed at the end of the New Year’s Eve fireworks in London and Hogmanay in Edinburgh. It is noteworthy how quickly the spectators depart, as if several weeks of build-up and the night’s excited anticipation have been satisfied by a magical, few moments shared with thousands of strangers. Other major events, such as the UK City of Culture and London Borough of Culture programmes both celebrate and explore places and the people who live in them. A key element of London’s first Borough of Culture in Waltham Forest in 2019 was presenting the multiplicity of different voices living there. Hull UK City of Culture in 2017 was an opportunity to put the city at the centre of the national cultural conversation, while retaining its distinct personality. Both projects aimed to support resident populations to tell their own stories, with artists and creatives responding to those places in unexpected ways, exploring the past and present, with an eye on the future. By all accounts, Coventry UK City of Culture 2021 will continue this vital place- based approach to major cultural events programming. 1 Martin Wallstam, Dimitri Ioannides & Robert Pettersson (2020) Evaluating the social impacts of events: in search of unified indicators for effective policymaking, Journal of Policy Research in Tourism, Leisure and Events, 12:2, 122-141, DOI: 10.1080/19407963.2018.1515214 These and other examples, along with a desire to evolve what major events can be, have informed what Festival UK* 2022 (working title) will be. It seeks to underline our collective creativity by drawing together the fields of science, technology, engineering, arts and maths, conceiving how new digital tools, media and traditional live event practices can merge to create projects of ambitious creativity that reach far more people than could ever attend in person. The festival also accepts that for projects to truly engage and reflect all our identities they must be created through the bringing together of a diverse set of creatives from the outset. 500 individuals and organisations worked on the paid R&D Project for the festival, and hundreds more will be involved in its production. By investing in development (unlike in this festival, it is too often done without payment) we can ensure we make events for and with audiences, and also open up opportunities for emerging talent and under-represented voices. Crucially the festival uses the whole of the UK as its site and resists the natural magnetism of our metropolises to monopolise activities. What does the UK public want from major cultural and sporting events, and how effectively is this being reflected in the planning and programming for events in 2022? We believe that cultural activity attracts, engages and unites the public in unique and meaningful ways. Festival UK* 2022 plans to do this by focusing on two key acts - bringing people together and showcasing our creativity. We have done this by commissioning 10 large-scale projects designed collaboratively by creatives from the science, technology, engineering, arts and maths sectors. Project activity will be delivered at hundreds of urban, rural and coastal locations across England, Northern Ireland, Scotland and Wales. It will include significant educational and participatory opportunities and digital engagement (including traditional media) with the aspiration to reach 66 million globally. The Festival will be free of charge for everyone to enjoy, with the majority of the off-line programme taking place outdoors. Evidence for events of this kind – such as the London 2012 Cultural Olympiad, Hull’s UK City of Culture year in 2017 and the 14-18 NOW cultural programme – shows that this is a very successful model. Total public engagement in the Cultural Olympiad UK-wide was 43.4 million, with 25.8 million outside London. Of these more than 43 million public experiences of Cultural Olympiad events, 5.9m involved active creative participation. Over 45,000 people volunteered, helping more than 177,000 events to take place in over 1,000 venues, from the Shetland Islands in the north of the UK to the Scilly Isles in the south.2 “The UK population were motivated to extend their engagement in culture as a result of their London 2012 experiences. This motivation was higher for people that took part in the Cultural Olympiad and the London 2012 Festival. The Cultural Olympiad and post-Olympiad activity also raised the profile of the UK’s cultural offer nationally and internationally. ...the scale and breadth of London 2012’s cultural achievements and should be seen as a key point of reference for major cultural programming for years to come.”3 In Hull, the UK City of Culture programme attracted a total audience of 5.3 million, who attended over 2,800 events, cultural activities, installations and exhibitions. Over half of the audiences were from Hull, with 9 out of 10 residents (i.e. over 95% of all residents) attending at least one cultural activity during the year. There was a strong sense of ownership amongst local residents: the evaluation reported a significant increase in participation among them, in a city that had historically recorded low participation in arts and culture. Residents also reported an increased sense of pride in their city.4 More than 50% of the UK population (35 million people), including eight million young people, experienced the 14-18 NOW projects, which took place in 220 locations across the UK, from Orkney to Plymouth, Norwich to Belfast, with many also touring internationally. Evaluation evidenced the programme of free events reached more diverse audiences than normally for the arts and heritage sectors and showed the value of public outdoor arts in engaging new audiences. In undertaking work across the UK and a diverse range of activity, 14-18 NOW succeeded in achieving reach and resonance at a local, national and international level. It also set a new benchmark for the arts and heritage sectors in commemorating national moments, in the UK and internationally 5 2 Garcia, B., London 2012 Cultural Olympiad Evaluation – Executive Summary, 2013, available online at http://iccliverpool.ac.uk/wp- content/uploads/2016/10/Garcia2013London2012COSummary-WEB.pdf 3 Olympic Games Impact Study – London 2012 Post-Games Report, A report compiled for the International Olympic Committee by the University of East London, funded by the Economic and Social Research Council, December 2015,p.85, downloadable at http://www.uel.ac.uk/- /media/main/images/ace/cgis/postgames_ogi_report.ashx?la=en&hash=21A005DE002F7A05B6AA4838A3E7B55F4D160FBF 4 University of Hull reveals UK City of Culture 2017 evaluation: https://www.hull.ac.uk/work-with-us/more/media-centre/news/2018/city- of-culture-evaluation 5 14-18 NOW Overall summary of evaluation: https://issuu.com/1418now/docs/03560_1418now_jo_burns_report_v4_wr Research shows that audiences for outdoor arts are different from those experiencing arts and culture in venues and cultural organisations.
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