LONDON 2012 CULTURAL OLYMPIAD EVALUATION EXECUTIVE SUMMARY 25 APRIL 2013

By Dr Beatriz Garcia Head of Research, Institute of Cultural Capital Senior Research Fellow in Sociology, University of Liverpool

With Tamsin Cox Head of Policy and Research, DHA

A STRATEGIC RESEARCH PARTNERSHIP London 2012 Cultural Olympiad Evaluation TABLE OF CONTENTS

EVALUATION TEAM Introduction 05 What is the Cultural Olympiad? 07 Dr Beatriz Garcia, Research Director Tamsin Cox, Lead Research Collaborator The Cultural Olympiad in numbers 11 Stephen Crone, Research Assistant Summary impacts and achievements 15 1. Raising the bar for cultural programming 16 WITH SPECIALIST SUPPORT FROM 2. Engaging audiences and communities 21 Kate Rodenhurst, Case Study Research 3. Developing tourism 25 Prof Andy Miah, Digital Media Research 4. Governance and partnership approach 27 Dr Peter Campbell and Dr Philippa Hunter-Jones, Themed Research 5. Placing culture at the heart of the Games 31 James Milton, Editing 6. Conclusions 35 Technical note 39 IMAGE CREDITS Prof Andy Miah

FUNDING London 2012 Cultural Olympiad stakeholders University of Liverpool London 2012 Cultural Olympiad Evaluation London 2012 Cultural Olympiad Evaluation INTRODUCTION

THE UK BID FOR THE 2012 OLYMPIC AND THE FINALE OF THE The promises inherent to the Cultural Olympiad and London 2012 Festival PARALYMPIC GAMES PROMISED THAT CULTURAL OLYMPIAD WAS THE LONDON 2012 FESTIVAL, vision have translated into the largest cultural programme of any Olympic and THE LONDON 2012 PROGRAMME WOULD A CURATED UK!WIDE FESTIVAL Paralympic Games and a programme, CHAMPION CULTURE AND EDUCATION SHOWCASING THE BEST OF on a geographical scale, unmatched THE CULTURAL OLYMPIAD by any previous UK cultural festival. ALONGSIDE SPORT, WITH A CULTURAL AND COMMISSIONING OR An additional promise was a legacy OLYMPIAD TO INSPIRE YOUNG PEOPLE INVITING WORK FROM for those who participated, and this is WORLD!LEADING BRITISH reflected in the enduring life of many AND CELEBRATE THE COUNTRY’S UNIQUE AND INTERNATIONAL ARTISTS. of the new partnerships, festivals and INTERNATIONALISM ALL OVER THE UK. commissions that continue to serve The London 2012 Festival promised ‘once- audiences beyond 2012. Amongst the in-a-lifetime’ commissions to match up to partnerships, the special relationships with THE CULTURAL OLYMPIAD WAS the ‘once-in-a-lifetime’ Games experience, Derry~Londonderry UK City of Culture with a commitment to serving communities 2013, the Glasgow 2014 Commonwealth LAUNCHED IN 2008 AS A FOUR!YEAR, throughout the UK in partnership with Games and the Rio 2016 Olympic and local, national and international partners. Paralympic Games allowed work to be UK!WIDE PROGRAMME, DEVELOPED BY The London 2012 Festival also promised premiered in the London 2012 Festival AND FOR COMMUNITIES, ESPECIALLY to foreground the UK’s creative industries and for these partnerships to be built and commission innovative work to upon for the years following 2012. YOUNG PEOPLE, AND INCLUDED highlight hot spots for cultural tourists, SPECIAL PROGRAMMES TO CELEBRATE as well as offering free participation opportunities for local communities. DEAF AND DISABLED ARTISTS, THE UK’S DIVERSE CREATIVE INDUSTRIES, ITS HERITAGE AND NATURAL ENVIRONMENTS, AND WORLD ICONS SUCH AS WILLIAM SHAKESPEARE.

This report summarises key findings from the Institute of Cultural Capital evaluation of the London 2012 Cultural Olympiad. These findings are organised into five main areas, which broadly correspond with the main promises highlighted above:

RAISING THE BAR FOR CULTURAL PROGRAMMING

ENGAGING AUDIENCES AND COMMUNITIES

DEVELOPING TOURISM

GOVERNANCE AND PARTNERSHIP APPROACH

PLACING CULTURE AT THE HEART OF THE GAMES

This Summary is complemented by a Full Evaluation Report and dedicated Case Study reports, available at:

www.culturalolympics.org.uk/volume/vol-15-2013

Garcia et al. | Institute of Cultural Capital | April, 2013 6 London 2012 Cultural Olympiad Evaluation London 2012 Cultural Olympiad Evaluation WHAT IS THE CULTURAL OLYMPIAD?

A Cultural Olympiad is a required element of MAIN PROGRAMMING COMPONENTS any Olympic and Paralympic Games and is part of the International Olympic Committee’s AND CHRONOLOGICAL MILESTONES ambition to present the Games as the In 2008, the Cultural Olympiad launched was the largest blending of ‘sport, culture and education’.1 > Stories of the World > Sounds was an umbrella as a series of Major Projects inspired youth participation programme ever name for a series of flagship The London 2012 Games Candidature File by the London 2012 bid proposal and undertaken by museums in the UK. international music projects. presented its cultural programme proposal two distinct engagement programmes: Thousands of young people were The term ‘Sounds’ was never Open Weekend and Inspire. These recruited to reinterpret museums’ promoted as a single umbrella, in 2004 as part of the chapter dedicated programmes adopted an open source collections and co-curate exhibitions. to ‘Culture and Olympism’. The chapter approach to maximise multiple-ownership, but its components became included the vision for the Games Opening empowering local communities to > Somewhereto_ created a network flagships in their own right: make art and link with the Games. of spaces enabling young and Closing Ceremonies, the Torch Relay, people to pursue their creative > Youth Music Voices: a vocal ensemble a network of big screens (Live Sites), an > The Inspire programme and sporting passions. of 100 young people auditioned across Education Programme and a four-year Cultural allowed organisations to carry the UK and performed throughout the Cultural Olympiad in diverse venues, an ‘Inspired by 2012’ mark to > Film Nation engaged young people Olympiad starting at the end of the Beijing as artists and producers of film. including the Olympic Velodrome 2008 Olympic Games. The main vision associate cultural, sporting and and the Houses of Parliament. educational activity with London behind the Cultural Olympiad was sustained > Discovering Places explored 2012. 564 projects were licensed > Music 20x12: a commissioning during delivery, while the programme’s key heritage and open spaces in built under the culture label and took and natural environments throughout programme of 20 contemporary components expanded considerably and place between 2009 and 2012. the UK, emphasising less well- 12 minute compositions by UK included a diverse range of programming Some of them also became part known (or hidden) places. composers in collaboration with orchestras and musical groups. strands, partners and funders. Find opposite of Cultural Olympiad strands, and a few were included in the > Artists Taking the Lead invited an overview of the main milestones over time. final London 2012 Festival. artists to present a ‘big idea’ to > Music Nation: a weekend of live celebrate the Cultural Olympiad. music events involving a nationwide collaboration of the UK’s orchestral > Panels of local artists selected one Open Weekend was an annual, and music-making communities. UK-wide three-day event proposal from every nation and region for a major commission. running from 2008 to 2011, > BBC Hackney Weekend: a music counting down to the start > Unlimited was the largest ever festival bringing together the of the London 2012 Olympic UK commissioning programme for biggest names in popular music Games. It included thousands of excellent art by Deaf and disabled for the first time to a deprived projects and aimed to maximise artists. It developed throughout community in East London. cultural sector involvement the Olympiad and culminated in the lead up to 2012. during the Paralympic Games. > BT River of Music: six stages of free music across classic and emerging iconic sites on the Thames > The Major Projects were > The World Shakespeare Festival demonstrated the international riverbank throughout London, designed to highlight distinct presenting work from all 204 nations Cultural Olympiad themes appeal of Shakespeare and fostered exchange and collaboration competing at the 2012 Games. and values. Ten projects were between UK and international originally presented, of which theatre companies. It incorporated > BBC Proms: the world-famous eight developed into the Cultural Globe to Globe, the performance classical music festival. Olympiad programme. These of Shakespeare’s 37 plays by 35 projects were described by countries, in 37 different languages. delivery partners as follows:

1 IOC (2012) Olympic Charter. Lausanne: International Olympic Committee.

7 Garcia et al. | Institute of Cultural Capital | April, 2013 Garcia et al. | Institute of Cultural Capital | April, 2013 8 9 slight understatements. H 2 T the 2012 Festival together, theydevelopedthe Director ofthe programme. the managementofoverall C the I P C and place-specificprojectsledby also sawthestartofadditionalnational licensed withan and incorporatingmanyprojects P by anetworkofdedicated regional programmesbeingdeveloped UK regionandnation,complementing new programmingstrands announced fournationalprojectsand12 In 2009 London 2012 n 2010 he London2012 owever, withinthis remier rogrammers andlocalauthorities, N ultural OlympiadBoardtooversee ultural Olympiad ote: C C ultural Olympiadin2012. ultural Olympiadformeda T Garcia et al.|Institute ofCulturalCapital |April,2013 , thekeystakeholdersof he full , Legacy P artners and T E his boardappointeda valuation C asaculminationof C ultural Olympiad S Inspire ultural Olympiadand, T ummary, mostfindingsexclude thesetwoprogrammesduetothe lack ofcomprehensivedataavailability. rust UK(L P C rincipal Funders, ultural Olympiadmainprogrammingemblems: R S eport thatcomplements this upporters. mark.2009 , C one foreach T reative London UK) E valuation > > > S

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Bid Documents London 2012 Culture Chapter CULTURAL OLYMPIAD

2005 2006 2007 2008 2009 2010 2011 2012

Get Set Education

LTUK Nations & Regions Projects Ceremonies Ceremonies

Inspire Mark Project Torch LiveSites Relay LiveSites

Garcia et al.|Institute ofCulturalCapital |April,2013 CULTURAL Torch LiveSites OLYMPIAD Major Projects Relay

Education FESTIVAL Art in Open MEDIA the Park Weekend LAUNCH LONDON 2012 Open FESTIVAL Weekend Open Open Weekend Weekend Mayor of London Presents

2005 2006 2007 2008 2009 2010 2011 2012 10 London 2012 Cultural Olympiad Evaluation London 2012 Cultural Olympiad Evaluation 38.5M FREE PUBLIC THE CULTURAL ENGAGEMENT 45,597 EXPERIENCES OLYMPIAD IN NUMBERS VOLUNTEERS 15.4M WITHIN THE LONDON 2012 FESTIVAL SIZE AND SCALE PUBLIC IMPACT 177,717 ACTIVITIES ESTIMATES OF 7% 22% M £ M % OTHER ACTIVITY PERFORMANCES M 126.6 the latter including 1.6domestic tourist visits budget across the 89 dedicated broadcasts 43.4PUBLIC ENGAGEMENT across the Cultural four-year Cultural goes to and online commissions EXPERIENCES, INCLUDING Olympiad in the period ESTIMATES OF Olympiad, of which... programming July-September 2012 126,000 M international tourist visits 37.4 at the London 2012 ATTENDANCES OR VISITS Festival in the period July-September 2012 M 5.9PARTICIPANTS

42,000 with an 40,464ARTISTS, OF WHOM Twitter account followers for ARE EMERGING the London 2012 % ARTISTS, AND BY 84 6,160 Festival positive sentiment SEPTEMBER 2012 ARE DEAF OR DISABLED ARTISTS % % % 806 52 18 29 SESSIONS FOR EVENT/ of the UK population EDUCATION, EXHIBITION were aware of the TRAINING OR DAYS Cultural Olympiad This went up to M TAKING PART and Festival % 204.4 broadcast and online views and hits 40awareness across the Cultural Olympiad (140m ACTIVITIES WITHIN THE LONDON 2012 FESTIVAL ALONE in London for the London 2012 Festival alone) ARTISTS IN THE LONDON 2012 33,631 25,000 FESTIVAL ALONE

Artist

representation 2,127 10,940new partnerships formed of these from all 204 with cultural organisations, competing emerged businesses, educational Olympic out of 5,370 organisations, local nations new artistic works or London Percentage of London 2012 Festival audiences agreeing that being part of authorities and sport the Festival in the context of the Games was a ‘once-in-a-lifetime’ experience % commissions emerging 2012 organisations across the 66 out of half of all Cultural Festival Cultural Olympiad Olympiad projects. projects Percentage of London 2012 Festival audiences indicating that the event attended exceeded their expectations 80 %

11 Garcia et al. | Institute of Cultural Capital | April, 2013 Garcia et al. | Institute of Cultural Capital | April, 2013 12 IMPACT ON THE CULTURE SECTOR BROADCAST AND PRESS IMPACT

OVER % 52% % 165 HRS 54 of67 projects believed ESS CLIPPINGS OF BBC they have gained PR Cultural COVERAGE greater national mentioned the (excluding news) profile and felt part K Olympiad or London of a bigger national 1,574 U 2012 Festival between celebration thanks 2003 (early London Projects indicated they would not have taken Projects indicated that they expect to to being part of the 2012 bid mention) and place without the Cultural Olympiad continue beyond 2012 in a similar form NATIONAL Cultural Olympiad 11 September 2012 AND 4,126 (Games aftermath). This represents BBC coverage of London 2012 REGIONAL Festival programming in 2012 exclusively An estimated PRESS 3,876 stories referred only to the 1,311 referred only to the London 2012 Festival, andCultural Olympiad, whilst CLIPPINGS 62% 61% 513 referred to both.

by the end of 2012 Projects indicated that they worked Projects indicated that they expect to % with new partners sustain new partnerships beyond 2012 15.5of stories on the UK articles where42 produced Cultural Olympiad were a news by art critics choosing Cultural 364instances of international Olympiad activity as their top item media coverage from highlight or cultural pick of 2012. ONLINE MEDIA % 38countries that covered the 8appeared London 2012 Festival between July and September 2012 within the 1,200 sport pages OVER tweets sent out by @London2012Fest Resulting in over M during the London 2012 Festival period 2views of the London 2012

Festival website between % % % % 20,000re-tweets November 2011 and 45 8 75 1.7 OF UK NATIONAL WERE OF UK REGIONAL WERE September 2012 PRESS STORIES NEGATIVE PRESS STORIES NEGATIVE WERE POSITIVE WERE POSITIVE with average monthly unique visitors of 4,000 IN 2012 IN 2012 ‘engaged’ followers of the London 200,000 2012 Festival Twitter account (ie. followers that re-tweet or comment) 66,000 37,600 downloads of a digital bell on occasion of Martin ‘likes’ of the London 2012 Creed’s All the Bells project on the morning of the Festival Facebook page Olympic Games Opening Ceremony

13 Garcia et al. | Institute of Cultural Capital | April, 2013 Garcia et al. | Institute of Cultural Capital | April, 2013 14 London 2012 Cultural Olympiad Evaluation London 2012 Cultural Olympiad Evaluation SUMMARY IMPACTS AND ACHIEVEMENTS

1 RAISING THE BAR FOR CULTURAL PROGRAMMING

Standards of cultural programming Cultural Olympiad types of activity within the UK are already internationally excellent, so raising the bar in this area London 2012 % Non-Festival % Total % was always going to be a challenge for Festival the London 2012 Cultural Olympiad and Performances 7,063 21% 18,949 23% 26,012 22% Festival teams. In this respect, it was not expected that London would undertake Event / Exhibition days 8,061 24% 13,555 16% 21,616 18% as transformative a cultural programme Sessions for education, 17,715 53% 43,536 52% 61,251 52% for the UK as occurred for such previous training or taking part Olympic hosts as Barcelona 1992 or Other activity 747 2% 8,046 9% 8,793 7% Sydney 2000, since their relative starting points were so different. Yet, hosting the Total 33,631 84,086 117,717 100% Cultural Olympiad did make a significant difference to the UK’s delivery of cultural Source: ICC/ DHA Project Survey programming. This is apparent in the ambitious scale and diversity of the > 52 per cent of all activity included > 40,464 artists were involved in the programme, the championing of ‘new’ sessions for education, training cultural programmes. As evidence work, the emphasis on distinct values or taking part, thus evidencing of the diversity of programming and themes, and the development of new the programme’s commitment to emphasis, the regions emphasised partnerships within and across sectors. engagement and active participation. slightly different elements in their approach, with some more oriented The 2012 programme showcased > Activity took place across all towards developing the arts sector a significant volume and range UK nations and regions, with and prioritising artist-led experiences of activities, representing wide some regions presenting as high (e.g. involving a higher number of geographical coverage and a very a volume of activity encouraging artists), and others emphasising broad range of artforms, as well active participation (e.g. sessions grassroots-led initiatives and a broader as diverse types and nationalities for education) as London. participant base (e.g. involving a of artist. The key details of this larger number of participants). > Activity cut across all artforms, programme are summarised below: with a slight dominance of ‘combined > All 204 competing Olympic nations arts’, mainly involving outdoor activities. were represented by artists via > 117,717 activities were presented This demonstrates how the Cultural two principal events, BT River of over the Olympiad, of which 33,631 Olympiad met its objective to bring art (free concerts across London activities (29 per cent) were Music into unusual places and animate public presenting music and collaborations concentrated in the 12-week London spaces. Dance was another dominant from the competing nations) and 2012 Festival period, which spanned artform, which is reflective of the (a week of poetry part of the Torch Relay and Olympic Poetry Parnassus impact achieved by one flagship mass in translation at the Southbank Centre and Paralympic Games months. participation project, Big Dance. and in associated publications). The 5 continents were also represented across a larger number of projects. Europe and the Americas were the two most dominant continents, with South America having a stronger presence than the US or Canada. Asia, Africa and Oceania were also well represented, the first two bringing more than 300 artists each.

D IVERSITY VOLUME & 15 Garcia et al. | Institute of Cultural Capital | April, 2013 Garcia et al. | Institute of Cultural Capital | April, 2013 16 1 Raising the bar for cultural programming BREATH OF London 2012 Cultural Olympiad Evaluation ARTFORMS

Artform by project > A wide range of artforms was The programme emphasised the The significant lead-up to 2012 Source: ICC/DHA Project Survey present throughout the Cultural ‘new’: new commissions, new and the scale of the ambition Olympiad. When comparing London productions and premieres, new allowed new projects to flourish 2012 Festival projects with projects partnerships, and new ways of beyond 2012. Some of the most outside of its remit, it is apparent that working. The programme also prominent examples include festivals, % % 11 6 the former gave more prominence to enabled work that would not employment and training programmes, NON!ARTFORM THEATRE classic artforms, with projects often have happened otherwise. and touring productions. SPECIFIC involving high profile artists in areas 9% such as theatre (the most dominant > 54 per cent of projects indicated that > 52 per cent of Cultural Olympiad VISUAL ARTS artform, led by the World Shakespeare their activity would not have taken projects expected to continue Festival), the visual arts, music and place without the Cultural Olympiad in a similar form, while 30 per % dance. In contrast, non-Festival activity and 21 per cent that it would have cent indicated that they would 16 was dominated by combined arts and happened but in a different form. continue in certain circumstances, MUSIC had far higher percentages of museum mostly dependent on funding. and heritage projects (e.g. Stories of > Half of the projects claimed that % the World), as well as ‘non-artform their work resulted in new products, > The projects which expected to 25 with 5,370 new artistic works or continue encompass the full breadth COMBINED ARTS specific’ work, most of which was community-led and crossed over with commissions in total, ranging from of the Cultural Olympiad, from the % 12.5 the sport, health and education sectors. films, fanfares and carnival floats to original Major Projects to London MUSEUM & HERITAGE The Festival also gave a stronger costumes, plays and graphic murals, 2012 Festival commissions, and emphasis to non-traditional forms more to name just a few examples. UK-wide projects funded via LTUK. associated with the creative industries % The most commonly cited ‘new’ As evidence of the strong relationships 3.3 – in particular, film and comedy. > > LITERATURE 14% dimension of projects was the formed with future Games hosts, a DANCE opportunity to develop new wide range of projects from London % partnerships (for 56 per cent of 2012 will be exported to Rio de 3 projects). This aspect was closely Janeiro and some are expected to FILM followed by references to greater feature within the Rio 2016 Games. scale, complexity or ambition of work, and the opportunity to work with new artforms or artists.

32% 17% THEATRE VISUAL ARTS

9% COMBINED ARTS 14% W 1% COMEDY NE NON!ARTFORM % E SPECIFIC 9 DANCE % 21 % MUSIC 5 FILM % 2 % MUSEUM & 2 HERITAGE LITERATURE EMPHASIS ON TH

17 Garcia et al. | Institute of Cultural Capital | April, 2013 Garcia et al. | Institute of Cultural Capital | April, 2013 18 1 Raising the bar for cultural programming DISTINCT VALUES London 2012 Cultural Olympiad Evaluation & THEMES

The evolution of the cultural > Programming took place across The Cultural Olympiad included work The media were consistently positive programme led to the emergence many of the most iconic outdoor across all of the major sub-sectors about the quality of the cultural of several distinct values and tourist attractions in the UK and in of the creative industries7 and, in offer, particularly in 2012, and themes, which were highlighted as first-time environments (‘unusual some notable instances, the ‘once-in- sector peers highlighted significant significant programming strands places’) for art interventions. 77 per a-lifetime’ nature of the programme elements of the programme in the promotional literature. cent of projects within this group was a catalyst for unprecedented as ‘best of’ the entire 2012 UK would not have happened without partnerships with creative cultural offer. In 2012 alone: This emphasis provided a platform to the Cultural Olympiad and most have practitioners in the private sector. showcase different kinds of artists – become iconic in their own right, > 50 per cent of UK national press including 6,160 emerging artists – and becoming the leading promotional > 19 per cent of projects across critics were positive about the cultural different ways of experiencing the arts. image for their respective locations. the programme indicated that they programme, with less than 4 per established new partnerships with cent negative. Stories in the regional P > 15.4 million free audience or > Approximately 70 per cent of projects creative industries organisations. press were 70 per cent positive participant experiences were used digital innovation in their about the quality of programming.10 OSITIV delivered by the London 2012 Festival, dissemination or approach to public > 14 per cent of projects reported exceeding its promise of delivering 10 engagement. In particular, ‘pop-up’ or working with businesses as > International media from more than 38 million free opportunities. Furthermore, ‘surprise’ interventions relied almost new partners in their project, countries offered coverage of London 23 million additional free audience/ exclusively on audiences following accounting for a total of 3,348 new 2012 Festival events, with a particular participant experiences occurred social media to discover what was partners in the business sector. emphasis on large-scale outdoor within the broader Cultural Olympiad. taking place and where to go. An spectaculars, mass participation events additional 40 per cent of projects > Some individual projects specifically coinciding with the start of the Games, > 40 per cent of projects targeted used digital activity in the creation of undertook activity to support and events in iconic locations. 11 children or young people, artistic work, an approach that was business development in the E a majority of which were led by particularly noticeable within the largest creative industries, with one such > The London 2012 Festival secured young people themselves as artists outdoor interventions (e.g. Speed of project in the East Midlands, Igniting 165 BBC broadcast hours. or producers of the work (e.g. Light in Edinburgh’s Arthur’s Seat, Ambition,8 leveraging £428,200 of ME > The programme’s online presence Tate Movie,5 Somewhereto_). Connecting Light in Hadrian’s Wall).6 additional funding from the European Regional Development Fund was significant, particularly via social > 806 Deaf and disabled artists Competitiveness programme that media. The official London 2012 were involved with the Cultural almost doubled the original investment Festival website alone attracted DIA Olympiad, mainly in the context of of £642,300 provided via LTUK.9 2.2 million hits, while the Festival the flagship disabled programme Twitter tag became a gateway for Unlimited and the dedicated the cultural sector to promote itself, regional programme Accentuate. with over 500 cultural organisations made visible in this context. RE > By the end of 2012, a range of Cultural Olympiad events were highlighted as part of critics’ ‘best of 2012’ picks VI across artforms. The event earning the highest volume of praise was the Tanztheater Wuppertal’s Pina E Bausch World Cities 2012 month-long season of international contemporary WS dance co-productions, presented by Sadler’s Wells and the Barbican.12

> London 2012 Festival activity secured a number of national , including three BAFTAS 5 Tate Movie was a UK-wide film project involving thousands of five to 11 year-old children in the production of a new digital film. awards and a series of theatre awards. 6 Speed of Light was a large scale public art intervention described as a ‘mass choreographed act of walking and endurance running’ (ICC/DHA Project Survey). The project involved hundreds of runners, each wearing specially designed light suits, performing nightly at different locations within Arthur’s Seat. Connecting Light was an art installation involving hundreds of balloons led by internal LED lights, which together spanned the length of Hadrian’s Wall. The lights responded to messages sent via digital media by audiences both on site and across the globe.

7 As defined by DCMS (2011) Creative Industries Mapping Document. 10 ICC/University of Liverpool UK National & Regional Press Content Analysis (2003-2012). Please note this refers to coverage about the quality and significance of actual programming (eg. reviews of cultural events by art critics). Press coverage about Cultural Olympiad organisational or funding issues was 8 Igniting Ambition was the Cultural Olympiad regional programme for the East Midlands and was funded by LTUK to develop a Creative Innovation business support less positive, particularly pre-2012. This is discussed under the ‘Governance and Partnership Approach’ chapter of the Full Evaluation Report. strand aimed at growing creative industries in the region between 2009 and 2012. 11 LOCOG International Press Clippings (June-September 2012). 9 Focus Consultants (2012) Evaluation of Creative Innovation Programme. 12 ICC/University of Liverpool UK National & Regional Press Content Analysis (December 2012).

19 Garcia et al. | Institute of Cultural Capital | April, 2013 Garcia et al. | Institute of Cultural Capital | April, 2013 20 London 2012 Cultural Olympiad Evaluation NATIONWIDE, MULTI!REGION AND PLACE!SPECIFIC ENGAGEMENT THROUGHOUT 4 YEARS

2 ENGAGING AUDIENCES AND COMMUNITIES

The diversity and geographic reach Public Engagement across the Cultural Olympiad> Public Engagement across the Cultural Olympiad of the Cultural Olympiad and London 2012 Festival were significant, and this London 2012 Non-Festival Total resulted in extensive national public Festival outreach and engagement. The volume of London 2012 Festival Non-Festival Total engagement was also substantial across Attendances and visits - paid 4,765,931 160,031 4,925,962 Broadcast 125,064,718 46,390,919 171,455,637 the programme; it was diverse, both in Attendances and visits - free 11,303,193 21,211,396 32,514,589 terms of demographics and in terms of Online 15,078,109 17,882,627 32,960,736 the types of experiences available for Participants 4,123,953 1,801,961 5,925,914 140,142,827 64,273,546 204,416,373 the public. This reflected a programme Volunteers 12,208 33,389 45,597 with a wide range of activities, some specifically targeted at particular groups, Total free public engagement Source: ICC/DHA Project Survey & LOCOG Audience Data and others that aimed to engage as (attendances and visits - free, 15,439,354 23,046,746 38,486,100 widely as possible across the population. participants and volunteers)

> The programme engaged audiences in Public engagement over the Total public engagement 20,205,285 23,206,777 43,412,062 period of the Cultural Olympiad, nationwide activities, as well as multi- across audiences, visitors, regional programmes, and activities Source: ICC/DHA Project Survey & LOCOG Audience Data participants and volunteers, is which focused regionally, sub-regionally estimated at 43.4 million.13 and locally. Across the UK, some audiences engaged in activity within > Participants in the Festival include an > There was also additional engagement their , and others by > Attendances and visits accounted estimated 2.9 million people who through viewing of broadcasts, immediate locale 14 travelling . for 37.4 million, while 5.9 million participated in No 1197: All the bells online viewings and hits of 204.4 significant distances participants and 45,597 volunteers in a country rung as quickly and loudly million. Of these, 140 million were contributed to shaping the Cultural for London 2012 Festival activity. as possible for three minutes by Martin > Projects targeted and engaged with Olympiad directly. The large majority Creed, on the morning of the Olympic different kinds of audiences. The of public engagement was free Games Opening Ceremony (27 July demographic of the general audience (38.5 million either through free 2012), and 890,120 participants shows positive engagement across attendances and visits, participation in StoryLab – Summer Reading the population, including young or volunteering).15 Challenge. people, disabled people and those from ethnic minorities. Individual projects show particular success in targeting specific groups from among the population.

> Find overleaf a summary table exemplifying these findings against four distinct projects. 38.5 MILLION FREE PUBLIC ENGAGEMENT ACROSS ALL DEMOGRAPHIC GROUPS

13 The range and volume of engagement during the Cultural Olympiad is likely to have been greater than the figures presented here suggest, as data for Open Weekend and Inspire projects was not available.

14 The term ‘attendances and visits’ is used here to reflect the fact that individuals may have attended or visited multiple activities and events throughout the four years of the Cultural Olympiad.

15 Source: Project Survey and LOCOG.

21 Garcia et al. | Institute of Cultural Capital | April, 2013 Garcia et al. | Institute of Cultural Capital | April, 2013 22 2 Engaging audiences and communities London 2012 Cultural Olympiad Evaluation MENT AGE ENG ECT ES TO PROJ RSE APPROACH DIVE

> Audiences reported very positive > Work which targeted specific groups > 58 per cent of respondents to the Mandala Mittwoch aus Licht experiences of activities in the Cultural showed significant success. Activities London 2012 Audience Survey said Olympiad, with almost 80 per cent engaging young people were that their experience at a London 2012 Free event at Birmingham Town Hall and Nottingham World Premiere of the final opera of of audiences saying that the particularly strong across the Cultural Festival event had made them more Council House, using illuminations, 3D projects and Stockhausen’s cycle Licht, staged by Birmingham event they attended exceeded Olympiad, and supported young likely to attend another cultural international and British Asian music and dance. Opera Company at a disused factory. their expectations. Audiences people to develop their creativity, event. More generally, there was a were positive about both the creative co-produce activity, engage in range of positive findings about the > A young audience, with 55% under > 56% of audience came from outside the region elements of events – the quality, projects with an international profile, likelihood of audiences engaging 35, and 25% under 25 hosting the event, half of whom came from atmosphere and entertainment of interact with digital technologies and in similar activity in the future. London, and 11.5% from outside the UK. them – and the practical elements develop their leadership. Work with > 29% of audience were non-White, with a significant > A range of data indicates that the of events, including organisation. disabled artists and disabled audience from Indian and Pakistani communities > 51% of audience travelled for more than Games has had a positive impact two hours to attend the event. participants was also particularly > The benefits of engaging with on motivating people to engage > A local audience, with 96% based in the strong, not only in engaging disabled different types of activities in culture. In the State of the Nation region in which the event took place, and > Audience were regular cultural consumers, with people in positive activities, but also for the public include seeing new survey for September 2012, 35 per 57% within a 15-minute drive time. 48% watching or participating in cultural activities in helping to change the perceptions at least once a week and 98% having attended kinds of events, coming together cent of UK respondents agreed that of disabled art and artists, potentially > A strong sense that ‘events like this help an event similar to Mittwoch aus Licht before. as a community to share ‘once-in- ‘more people’ will take part in cultural changing future audience behaviours. the local community to come together’, with a-lifetime’ experiences, engaging activities due to the Games. When 92% agreeing that this was the case > 88% of audience rated the event as better in new kinds of activities, involving > Activities gained audiences that reflecting upon personal motivation in or much better than expected. > 62% felt that the local nature of the event was groups who might not normally were both familiar with and the same survey, 12 per cent agreed important, and 60% felt that the free nature of the engage, and raising the positive new to the type of activity being that they were motivated to take part event was important in encouraging them to attend. profile of particular groups within the presented, and several venues were more, and 11 per cent agreed that population. In line with this, there has able to report audiences that were they were motivated to try a new or been a range of positive media new to them. There is also evidence different cultural activity. Data from the Piccadilly Circus Circus coverage and profile relating of engagement by those who do not Taking Part survey for the year up to The Big Concert to engagement opportunities frequently take part in any kind of September 2012 shows that 5.2 per Pop-up, open access, free, site-specific event Gustavo Dudamel and the Simón Bolivar Symphony within the Cultural Olympiad. formalised arts and cultural activity. cent of those who already participate in with promenade circus featuring artists from major Orchestra of Venezuela performed outdoors at arts and cultural activities felt motivated international contemporary circus companies, Stirling Castle, near the area of Raploch where the to do more cultural activities because taking place in Piccadilly Circus and surrounding El Sistema-inspired Big Noise project is based. of the Games. As more data emerges, streets which were closed for the day. it will be interesting to see if this translates into new or more frequent > A young audience, with 70% under > 55% of audience were in a group of 3 or audiences and participants for arts 35, and 39% under 25. more, and 21% in a group of more than 7. and cultural activities in the future.16 > 31% of audience were non-White, with > 35% of groups included children significant audience from Black African aged between 5 and 16. EXCEEDING and Black Caribbean communities. > A local audience, with 96% based in the > An audience which reflected the prominent London region in which the event took place, and EXPECTATIONS, location, with 15% coming from outside the UK, 64% within a 30-minute drive time. and 15% from within the UK, but outside London. EXPANDING YOUNG > 93% of audiences said that the event > 12% of audience had not engaged in was new or different for their area. PEOPLE’S ENGAGEMENT cultural activity in the last year, and a further 27% had only done so once or twice. > A strong sense that ‘events like this help AND CHANGING PERCEPTIONS the local community to come together’, with > 78% of audience said that the experience 97% agreeing that this was the case. OF ARTISTS WITH DISABILITIES. had made them more likely to attend another cultural event in the future. > 6% of audiences had not engaged in cultural activity in the last year, and a further 24% had only done so once or twice.

Source: Nielsen/ LOCOG London 2012 Festival Audiences Survey 16 The disparities in the data reported by State of the Nation and Taking Part, with regards to the motivation of survey respondents to increase their engagement with cultural activities, may stem from methodological differences between the two surveys: the State of the Nation survey may, for instance, have overstated the motivation of respondents to engage more with culture, due to its significant emphasis on the Games; whilst the Taking Part survey could have understated the desire for greater involvement, due to limited awareness of the Cultural Olympiad among some population groups. In addition, the State of the Nation survey data comes from September 2012, when awareness of the Cultural Olympiad was relatively high; whereas the Taking Part data was collected throughout the year leading up to and including September 2012. Interestingly, month-by-month data for the question in Taking Part shows a significant rise for August and September 2012. However, these figures cannot yet be said to be reliable, given the way in which the sample for Taking Part is constructed, requiring a rolling year in order to be properly representative of the population.

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3 DEVELOPING TOURISM

Across the Cultural Olympiad, > Evidence of domestic tourism being > Domestic tourism during the Cultural > There is evidence of sustained > In terms of direct engagement > The UK’s overall rating in the programming and partnership driven by activity in the Cultural Olympiad took place against a context tourism development both from with tourists during 2012, the Nations Brand Index went up one approaches encouraged Olympiad is strong, with some activities of increased tourism in the period multi-year activity, with festivals and year has been viewed first and place in autumn 2012, and reflects engagement with domestic and encouraging visitors to travel to July-September 2012, compared to the venues establishing profile over time, foremost as a ‘domestic visitor significant increases in the rating of international tourists. Wider engage with new locations, venues and same period in the previous year. 8 per and significant one-off activities success’. In addition, it has been the UK’s sporting excellence, natural tourism impacts were also achieved organisations. A total of 1.6 million cent of British people attended a which encouraged different types of an unprecedented opportunity to beauty and hospitality to visitors.21 through the raised profile given to domestic visits (day and overnight) ticketed event during the Olympics and visitors, or new perspectives on existing showcase Britain’s cultural assets The opportunity to build upon this the UK cultural sector and the new are estimated to have involved 3 per cent a free event.19 11.4 million tourism attractions. Outdoor attractions (in terms of scale and breadth), with positive profile and engagement of opportunities to showcase activities, engagement with the Cultural Olympiad day visits and 1.1 million domestic such as Stonehenge, Hadrian’s Wall, significant domestic and international domestic and international tourists venues and places to both international during the period July-September overnight visits in the period July- Arthur’s Seat in Edinburgh and the marketing campaigns in 2011 and in the Cultural Olympiad was visitors and the people of the UK. 2012.18 This accounts for in the region September 2012 included attending Giant’s Causeway were the location 2012 building awareness amongst significant, particularly in the context of 13 per cent of all domestic visits some type of activity in the Olympic or for significant commissions. Venues potential tourists in the future, and of VisitBritain’s work to raise the > An estimated 126,000 overseas which involved activity in the Olympics Paralympic Games.20 such as Tate Modern, the British working towards a government target profile of culture more generally, visitors engaged with the London and Paralympics in this period. As with Museum and the National Portrait to secure 4.6 million additional visits through the GREAT campaign, and 2012 Festival in the period July- international tourism, domestic visits Gallery hosted major exhibitions and to Britain over four years from 2011. the new partnership between Arts September 2012, and for some visitors associated with Games activity show a events. Locations like Ironbridge Council England and VisitEngland. motivated to come to the UK primarily significantly higher spend per visit than Gorge and the Lake District worked to because of the Games, this was the those for average day and overnight establish their profile with tourists for only engagement which they had with domestic tourists. cultural activity over multiple years. Olympic or Paralympic related activity.17 International tourists engaging with the Games, including those engaging with the Cultural Olympiad, had a significantly higher spend per visit than the average overseas visitor.

NEW PERSPECTIVES ON EXISTING TOURISM ATTRACTIONS, FROM STONEHENGE TO HADRIAN’S WALL AND THE GIANT’S CAUSEWAY ENCOURAGING TRAVEL TO ENGAGE WITH NEW LOCATIONS, VENUES AND ORGANISATIONS

17 International Passenger Survey.

18 Great Britain Day Visits Survey, VisitEngland; Great Britain Tourism Survey, VisitEngland.

19 VisitEngland (2012) Domestic Trip Tracker August 2012.

20 Great Britain Day Visits Survey, VisitEngland; Great Britain Tourism Survey, VisitEngland. 21 Foresight 111, VisitBritain.

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4 GOVERNANCE AND PARTNERSHIP APPROACH

The governance for the Cultural Olympiad > Dedicated team and UK-wide The funding base for the Cultural relied on a complex partnership networks: LOCOG also appointed a Olympiad was also broad and model, involving the most small culture team, and DCMS, Arts complex, relying on a wide range sophisticated nationwide funding Council England, Creative Scotland, of sources and evolving over and partnership development of any Arts Council Northern Ireland, Arts time. The final mix of funding reflects Games, as well as distinct leadership Council Wales and LOCOG funded strong relationships with public sector from a dedicated Board, with support 13 creative programmers located in funders and demonstrates that these from core Games stakeholders. each region and nation. This network were deployed in order to maximise was valued for its distinct contribution further co-funding from other public > Model: The governance model to building up local relationships and private sector sources. evolved from 2008 onwards. Initially, as well as some inter-regional the London Organising Committee collaborations. The arts councils, for the Games (LOCOG) serviced an British Council and other funders also Cultural Olympiad Income by Distributor and Expenditure by area advisory committee chaired by Jude created small teams to work on the Kelly, Artistic Director of the South Cultural Olympiad, as did the BBC. Bank Centre. In 2010, LOCOG, the Income by distributor London 2012 Festival Expenditure by area Department for Culture, Media and > Management: from open source Sport (DCMS) and the Mayor of to curation: In the early stages of LOCOG £ 33,795,041 Overheads, staffing £ 9,439,623 London’s office created a new Cultural the Cultural Olympiad, diverse teams and resources Olympiad Board, chaired by Tony Hall created diverse opportunities for ACE £ 36,362,949 (then Chief Executive of the Royal cultural and community organisations, LTUK £ 35,702,327 Marketing and communications £ 4,428,926 Opera House) with membership from though arguably the lack of a single leaders of major cultural institutions management structure impeded the GLA £ 4,618,000 Programme £ 112,750,989 including the BBC and the major development and delivery of a single Co-funding £ 16,141,221 funders of the Cultural Olympiad. vision. Whilst this could be considered Tony Hall represented culture on a strength for the grassroots and £ 126,619,538 £ 126,619,538 the main LOCOG Board and the community-led programmes of the Cultural Olympiad Board became Cultural Olympiad, it impaired the Source: LOCOG, Arts Council England and LTUK a formal committee of LOCOG in ability of the public to understand the 2011, thus embedding culture into the role of the Cultural Olympiad. This governance structure of the Games. led to the creation of the curated London 2012 Festival, which promised a single vision and clear identity.

A COMPLEX NATIONWIDE PARTNERSHIP MODEL, BUILDING!UP NEW LOCAL RELATIONSHIPS AND INTER!REGIONAL COLLABORATIONS

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> The total budget across the four-year > Co-funders: In addition, a large > Challenges: The diversity of funding The Cultural Olympiad governance Cultural Olympiad was £126.6m. number of organisations were sources is generally considered a and funding base created a wealth It came from a diverse range of involved as co-funders and provided strength for the development of a of opportunity for partnerships sources and was mainly distributed funds directly to projects. Olympic cultural programme. However, the lack within the cultural sector and across by LOCOG, Arts Council England sponsors BT and BP became Premier of a dedicated central budget meant sectors, within respective regions and LTUK, with a smaller proportion Partners of the Cultural Olympiad, that funder conditions were not always and nations as well as UK-wide delivered via the Greater London and Panasonic, Samsung, Freshfields, aligned with the Cultural Olympiad and with international partners. Authority (GLA). National Lottery and BMW and Eurostar became Olympic core vision and that, in many instances, public funding was made available to Sponsor supporters, alongside each new idea required dedicated > 62 per cent of projects Cultural Olympiad projects through other public sector partners such fundraising and funding applications. A indicated that they secured new Arts Council England, LTUK, the as the British Council, arts councils significant ring-fenced budget delivered partners, amounting to 10,940 Olympic Lottery Distributor and DCMS. in Scotland, Wales and Northern through LOCOG would have allowed new partnerships being formed. Ireland, and bodies promoting tourism. the director to plan and commission Funders supported projects directly work more swiftly and confidently. > 29 per cent of projects involved in some instances, rather than routing new partners from different artforms funding via LOCOG; and the cultural and across other sectors, notably, in partners were in many cases able to education, the creative industries and secure funding from non-Olympic local authorities. Further, 50 per cent of sponsors as well as local government, projects indicated that a key benefit of public funding bodies, charitable being part of the Cultural Olympiad was foundations and individual donors. the opportunity to work with partners they would not normally work with.

> Business organisations accounted for the majority of new partners (31 per cent), followed by arts organisations (26 per cent) and educational organisations (11 per cent).

> 61 per cent of delivery partners indicated that these partnerships will continue beyond 2012.

> There was an explicit emphasis on ‘handover’ activity, resulting in significant partnerships with the hosts of future one-off UK events (Derry~Londonderry 2013, Glasgow 2014), as well as future Games hosts (in particular, Rio 2016).

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5 PLACING CULTURE AT THE HEART OF THE GAMES

Putting ‘culture at the heart of > A vision and narrative focused > Exploring Olympic and Paralympic > Integrated branding strategy: > Positioning culture within core > Collaboration and partnership: the Games’ was a feature of the on inclusion and excellence: The inspired themes: The original bid The Cultural Olympiad pioneered Games operations: The LOCOG The Cultural Olympiad drew inspiration London 2012 Cultural Olympiad’s Cultural Olympiad explored a variety proposal promised a focus on inspiring an historic, sophisticated branding Culture team was moved from its from a wide network of partners, many strategy since the bid stage and of curatorial approaches to reach young people and internationalism, and strategy, which maximised opportunities original location within the Culture, of which were central to the delivery of was widely considered to have out to as many different audiences these values were retained throughout for cultural organisations to associate Ceremonies and Education division the Games at large and had a vested been a distinct dimension of as possible. It involved a four-year and were explored by the majority of their programmes with the Olympic into the Brand and Marketing division. interest in ensuring that the cultural London 2012’s unique offer. lead-up programme using an open Cultural Olympiad projects. Additional and Paralympic Games. This strategy While this move may have weakened programme was strongly associated This aspiration was successfully met, source approach to programming values explored in significant new ensured the protection of commercial the links between the Cultural with the rest of London 2012 activity. mainly thanks to the consistent adherence that involved many grassroots ways by partners across the UK were sponsors by creating distinct marks Olympiad and other Ceremonies and The appointment of two London to a series of core narrative priorities organisations beyond the arts world, bringing together culture and sport, (pictograms) for the Inspire programme Education programmes (e.g. Live 2012 domestic corporate sponsors which translated into actual artistic and culminated with a 12-week London breaking the boundaries between and London 2012 Festival, based on Sites, Torch Relay and Education), it as Premier Partners, the creation of programming decisions; the exploration 2012 Festival focused on artistic ability and disability, and using culture the design integrity of the London helped advance key communication a Cultural Olympiad Board including of innovative branding approaches; the excellence and world-class acts. and sport to advance peace. 2012 emblem. Further, the visual innovations, from the innovative the official Olympic broadcaster, involvement of partners with a vested marks associated with the Cultural branding approach, including a clear and the growing relationship with interest in the Games at large; and Olympiad applied equally to the presence within the Games time the DCMS and the GLA positioned investment into nationwide infrastructures Olympic and Paralympic Games and city-dressing (Look of the Games) the cultural programme as central to make the Cultural Olympiad an the programme was presented as a programme, to a central placement to the broader Games experience. effective platform for people to feel single entity across both Games. within the London 2012 main public part of the Games experience, beyond engagement programme, Join In. > A truly national programme: London and ticketed sporting arenas. The recognition of the Cultural The appointment of 13 Creative Olympiad Board as an official Programmers, and the development committee of LOCOG and the of dedicated nationwide funding appointment of respected cultural schemes such as those developed specialists to the team gave additional by LTUK and the Olympic Lottery credibility to the programme. Distributor facilitated the presence and positioning of the Games cultural programme in every nation and region and contributed to the perception that communities could join in the Games experience beyond London and beyond sporting arenas.

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Impact on opinion formers > Media coverage highlighting the > The Cultural Olympiad and, particularly, Impact on the public and > Added value for the UK cultural relationship between the cultural the London 2012 Festival made delivery partners sector: The majority of programme The Cultural Olympiad attracted programme and the Games, and effective use of online and social delivery partners and contributing a significant volume of positive the added value provided by the media platforms. During the month > Public awareness and Games artists considered the Games national and regional media Cultural programme to the Games in which the Olympic Games were relevance: The scale of public connection relevant and saw added coverage, garnered substantial experience, was apparent within held, Festival website page views awareness of the Cultural Olympiad value in being part of the Cultural international coverage, and secured the UK press – in particular, within reached a peak average of 500,000 was remarkable, peaking at 29 per cent Olympiad. Key additional benefits of an extensive online presence. regional papers. In 2012, 67 per a month (30 per cent higher than of the UK population and 40 per cent of such an association included feeling Most of this coverage focused on cent of national articles mentioning previous months), thus showing the Londoners in 2012. People tended to part of a bigger national celebration, the quality of its cultural programme the Cultural Olympiad made this added value of the Games link. agree that the Cultural Olympiad was a attracting different participants or and its capacity to engage people. reference significant to the story, and relevant dimension of the Games, with audiences and gaining greater national this was the case for 75 per cent of over 70 per cent of surveyed London profile. Further, contributors to distinct The expressed > UK national press regional stories from 2008. Further, 2012 Festival audiences indicating that strands of the programme, such as concern about the purpose and vision 30 per cent of national stories on their experience positively influenced representatives of projects dedicated to behind the Cultural Olympiad in the the Cultural Olympiad referred to their overall Games experience, and young people and artists contributing to early years, but was consistently the Olympic Games or both the 66 per cent agreeing that being the Deaf and disabled art programme positive about the London 2012 Olympic and Paralympic Games. part of the London 2012 Festival Unlimited, highlighted the following as and valued the existence Festival Finally, 15.5 per cent of stories on in the context of the Games was a key additional benefits: operating at a of an official Games cultural the Cultural Olympiad appeared as ‘once-in-a-lifetime experience’. greater scale and with more space for programme. The regional press a news item and 8 per cent within innovation; positive brand association was about the always positive the sport pages, which is evidence (e.g. the Olympic and Paralympic aspirations of the Cultural Olympiad. of the programme making some Games as a “mark of quality” as well contribution to the Games’ mainstream as accessibility) and opportunities narrative, beyond the arts pages. to attract greater media attention.

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6 CONCLUSIONS

Six months after the end of London For the UK cultural sector, the It is still too early to fully appreciate the Immediate legacies for the Olympic From an Olympic and Paralympic Olympic Movement stakeholders 2012, the first London 2012 Cultural evidence to date indicates that the UK significance of the Cultural Olympiad’s and Paralympic movements Games point of view, some of the most have highlighted the added value of Olympiad legacies are already apparent population were motivated to extend legacy for the broad UK and international innovative practices that were tested key programming decisions that had and range from benefits for future Games their engagement in culture as a result cultural sector. However, the impact The London 2012 Cultural Olympiad and successfully delivered by London no precedent in previous Games. In hosts to benefits for cultural stakeholders of their London 2012 experiences. This of this experience as a far-reaching delivered an ambitious commissioning 2012 include a more flexible branding particular, a disability-related programme across the UK’s nations and regions. motivation was higher for people that cultural framework for the Olympic and programme for world class artists, framework for cultural partners and such as Unlimited may have been The Cultural Olympiad’s operational and took part in the Cultural Olympiad and Paralympic Games has been remarkable developed and produced in partnership comprehensive nationwide funding solely associated with the Paralympics programming framework has informed the London 2012 Festival. The Cultural and it is already possible to highlight key with UK cultural organisations and and delivery mechanisms. On the first at previous Games, but London 2012 the planning and delivery of Olympic Olympiad and post-Olympiad activity dimensions that can shape future Games international partners in the largest point, the creation of the Inspire and developed its Cultural Olympiad as and Paralympic cultural programmes in also raised the profile of the UK’s cultural hosting processes and thinking around curated UK-wide festival in the history London 2012 Festival marks enabled a single cultural programme for both Sochi 2014 and Rio 2016. In particular, offer nationally and internationally and what cultural programming can do for the of the country. It also created an a wide range of organisations to Games and marketed Unlimited as the Cultural Olympiad’s extensive helped re-imagine iconic locations across Olympic and Paralympic movements. open source participation and skills associate with London 2012 without a flagship project from the outset in collaborations with artists from Rio and the country, thus creating opportunities development programme involving all creating conflict with the interests of the 2008, thus generating a multi-year elsewhere in Brazil have foregrounded to reach new tourist markets in years to UK regions and nations, which provides Games’ commercial partners, and this cultural bridge between the Olympic some important cultural dimensions come. Furthermore, over half of projects a useful model for creative programmes considerably expanded the opportunities and Paralympic Games. Informants at of the Rio 2016 programme, while and new partnerships established during to continue engaging communities and for inclusion of diverse activities, the International Olympic Committee London 2012 Festival partners have the Cultural Olympiad will continue, young people, as well as setting multi- particularly (as in the case of Inspire) (IOC) indicate that they would support also co-commissioned artists with other providing a solid foundation on which to sector and multi-region partnerships. at grassroots level. On the second a similar approach in future Games, major events’ cultural programmes, capitalise on the achievements thus far. This has raised the bar for future Cultural point, the establishment of a UK-wide thus encouraging a joint cultural such as Derry~Londonderry 2013 Olympiads as well as culture in the UK. network of Creative Programmers with programme rather than a division UK City of Culture and the Glasgow the backing of long-established national between Olympic and Paralympic 2014 Commonwealth Games. and regional stakeholders, promoted cultural activities. This London 2012 local design, ownership, and the ongoing legacy is already materialising in the local presence of a trusted champion lead up to Rio 2016, and is one of for the Cultural Olympiad, which was a the key learning points highlighted by crucial vehicle for delivering a UK-wide Rio de Janeiro’s cultural authorities. Games experience. The creation of a Cultural Olympiad Board, which became an official committee of the LOCOG Board, and the direct involvement of key cultural leaders, Games sponsors and the official broadcasters is also a vital lesson for future hosts.

KEY OLYMPIC LEGACIES: A MORE FLEXIBLE BRANDING FRAMEWORK FOR GAMES CULTURAL PARTNERS AND COMPREHENSIVE NATIONWIDE FUNDING AND DELIVERY MECHANISMS.

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The dedicated involvement of London The approach to partnership and, in Finally, for the UK and international arts The wealth of evidence presented in 2012 domestic sponsors as Cultural particular, the explicit emphasis on worlds, using the Olympic and Paralympic this report and supporting appendices, Working with the London 2012 Olympiad Premier Partners, and the handover activity – which resulted in Movements’ values and themes as and the extensive range of dedicated culture team…was the real opportunity involvement of the official Olympic significant collaborations with the hosts inspiration also resulted in opportunities project evaluations being made available broadcaster, the BBC, as a Supporter, of future one-off UK events, as well as to create ground-breaking art moments, by individual Cultural Olympiad delivery to learn how to create and conduct a have also been noted by observers future Olympic and Paralympic Games including: the commissioning of Richard partners and project stakeholders across within the Movement as important to the hosts – is a source of additional legacies Long to present work alongside the the UK, is proof of the commitment to very successful cultural festival with success of the Cultural Olympiad. Their for both Movements and evidence that Olympic cycling race in Box Hill fully document this experience so as an attentive look towards what is combined value lends further insight into the Cultural Olympiad can influence Road River; the use of Arthur’s Seat to extract key lessons and facilitate what could be termed a London 2012 the framing of other major events. The in Edinburgh as the grounds for a live knowledge transfer. This is the first groundbreaking and out of the ordinary, Model for Culture, combining high-end London 2012 Culture Team and its piece of public art created using 120 time in Olympic and Paralympic history industry support with focused media regional delivery partners invested in endurance runners in Speed of Light; the that the Cultural Olympiad has been as well as towards the legacy that the profile and visibility, which exceeded what establishing links with previous and production of new films responding to examined in such detail. This exercise has event would leave to the city.” had been achieved in previous Games. subsequent Cultural Olympiads from the the Games, such as BAFTA winner The provided previously unavailable insights The frameworks created by the London early stages. Some notable examples Swimmer by Lynne Ramsay; Deborah into how a Cultural Olympiad can make (Secretary of State for Culture, Rio de Janeiro) 2012 Culture Team maximised synergies of this included collaborations with the Warner and Fiona Shaw’s Olympic Truce- a difference, not only to the Games, between sponsors, the BBC and other Vancouver 2010 Winter Games, which inspired Peace Camp; the collaboration but also to the host city and nation’s cultural stakeholders and were crucial informed activity in England’s North West of the Mayor of London with large scale approach to delivering and experiencing in generating commercial partnerships and were maintained throughout 2012. pop-up commissioned celebrations of culture and the arts. These pages provide and broader advocacy in support of the But perhaps the most extensive example London like Piccadilly Circus Circus and unquestionable evidence of the scale ambition to make culture and the arts of intercultural exchange between Games Elizabeth Streb’s One Extraordinary Day; and breadth of London 2012’s cultural central (rather than just additional) to the editions was the collaboration between and, as an example of unprecedented achievements and should be seen as a Games experience. The achievements artists across the UK and Brazilian artists, scale, the world premiere of Mittwoch aus key point of reference for major cultural of London 2012 in involving corporate both in the lead up to and during the Licht by Birmingham Opera Company. programming for years to come. and media partners, which included a Games period in 2012. Many of these pioneering collaboration with the IOC collaborations continued into 2013 and Olympic Museum in Lausanne (The have plans for subsequent years, with Olympic Journey), were noted by the the British Council playing an important Olympic Family as a reference point, role as funder and supporter of this which should be complemented in the work via initiatives such as Transform. future by similar levels of involvement For the Olympic and Paralympic from global Olympic sponsors to further Movements, to observe such extensive promote cultural engagement around collaboration across Games hosts is the Games and achieve greater synergy another indication of the significant ways with other Games programmes, from in which the cultural programme can sports to education and volunteering. promote international understanding and this is an additional Games legacy.

THE LONDON 2012 MODEL FOR CULTURE: COMBINING HIGH!END INDUSTRY SUPPORT WITH FOCUSED MEDIA PROFILE AND VISIBILITY; EMPHASIS ON PARTNERSHIP & HANDOVER ACTIVITIES; AND BUILDING ON OLYMPIC & PARALYMPIC VALUES TO CREATE GROUND!BREAKING ART MOMENTS.

37 Garcia et al. | Institute of Cultural Capital | April, 2013 Garcia et al. | Institute of Cultural Capital | April, 2013 38 London 2012 Cultural Olympiad Evaluation TECHNICAL NOTE

KEY DATA SOURCES RESEARCH TEAM The findings presented here are informed This evaluation has been led by Dr by the following primary and secondary sources: Beatriz Garcia23 as Evaluation Director with support from Tamsin Primary research conducted by the Secondary data Cox24 as lead Project Collaborator. Institute of Cultural Capital (ICC) > The London 2012 Festival Additional research has been conducted > A Project Survey undertaken by Audiences survey, undertaken by by Kate Rodenhurst (case study ICC/DHA, including data from 648 Nielsen/LOCOG with analysis from research) and Prof Andy Miah25 projects from across the Cultural ICC/DHA, surveyed a total of 1,868 (assessment of digital innovations, Olympiad, with the majority of data audience members across eight social media impact analysis and being provided by 551 projects projects in the London 2012 Festival22 final report copy editing).

> Documentary Analysis of relevant > The State of the Nation Research assistance has been provided materials produced from the inception polling survey, undertaken by by Stephen Crone and James Milton, of the Cultural Olympiad in 2004, to Nielsen/ LOCOG between July and specialist support has been provided the final debrief to future Olympic and 2011 and September 2012 by Dr Peter Campbell (overall data Paralympic hosts at the end of 2012 mapping and creative industries data) > Data collated by LOCOG on: and Dr Philippa Hunter-Jones > UK Press Content Analysis of Venues, Audiences, Events, (tourism development data).26 1,722 sampled clippings mentioning International Press Clippings the Cultural Olympiad and/or London Funding 2012 Festival from the bid stage to > A range of national datasets, including the end of the Games (2003-2012) Taking Part (DCMS), International This Evaluation was funded by the Passenger Survey (ONS), Great Cultural Olympiad key stakeholders, led > 47 Interviews with representatives Britain Tourism Survey (VisitEngland) by LOCOG and Arts Council England, from the main Cultural Olympiad with special data access and support stakeholder organisations across > A selection of evaluations on from Legacy Trust UK and the UK the UK cultural sector as well as the specific Cultural Olympiad Department of Culture, Media and Sport. Olympic and Paralympic Families projects or programmes

> 23 Case Studies on projects representative of programming areas presenting some of the Cultural Olympiad’s most significant values: Deaf and disabled artists, young people, training and skill development, tourism development and digital innovations

> Analysis of key trends and emerging impacts in the usage of social media platforms in 2012

22 These projects are: BT River of Music; the entire Globe to Globe programme; How Like an Angel; Mittwoch aus Licht; The Big Concert; Compagnie Carabosse at Stonehenge; Mandala; and Piccadilly Circus Circus.

23 Dr Beatriz Garcia is Head of Research at the Institute of Cultural Capital and Senior Research Fellow in Sociology at the University of Liverpool. Dr Garcia has spent fourteen years researching Olympic and Paralympic Games cultural policy frameworks and advising the IOC on best ways to position the Cultural Olympiad. She directed the Impacts 08 research programme into the multiple impacts of hosting the Liverpool 2008 European Capital of Cultural programme. This Evaluation has built on this research model and her expertise on the experiences and cultural legacy of previous Games, from Barcelona 1992 onwards. 24 Tamsin Cox is Head of Policy and Research at DHA. She was Impacts 08 programme manager. This Executive Summary, complemented by a Full Evaluation Report 25 Prof Andy Miah is the Director of the Creative Futures Centre at the University of the West of Scotland and has conducted and Case Studies was originally published by Arts Council England, accessible at: research on technology and new media at the Olympic and Paralympic Games since Sydney 2000. http://www.artscouncil.org.uk/what-we-do/our-priorities-2011-15/london-2012 26 Dr Peter Campbell is a Lecturer in Sociology, University of Liverpool, and Dr Philippa Hunter- Designed by Jones is a Senior Lecturer at the School of Management, University of Liverpool. http://www.culturalolympics.org.uk/volume/vol-15-2013 bollandlowe.co.uk

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