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London 2012 Cultural Olympiad Impact & Legacy Evaluation
Dr Beatriz Garcia
Head of Research, Cultural Policy Institute of Cultural Capital
[email protected] | @beatriz_garcia
Mega-Events, Regional Development & Regeneration Regional Studies Association, London | 17 June 2014
www.iccliverpool.ac.uk
• Introduction | What is the Cultural Olympiad
• Chapter 2 | Raising the bar for cultural programming • Chapter 3 | Engaging audiences and communities • Chapter 4 | Tourism development • Chapter 5 | Governance and partnership approach • Chapter 6 | Culture at the heart of the Games
• Conclusion | Legacies moving forward
• Appendices
London 2012 Cultural Olympiad Evaluation
Download reports from:
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www.artscouncil.org.uk
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What was the London 2012 Cultural Olympiad
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Regional programmes (LTUK)
National Flagships
Somewhereto; BT Road to 2012 BP Portrait Award : Next generation
Discovering Places Film Nation; Unlimited; Artists taking the lead; Stories of the World; Sounds;
World Shakespeare Festival;
13 Creative programmers
We Play (NW) Imove (Yorkshire) Relays (South West) Igniting Ambition (EM) Moving Together (WM) Eastern Rising (EE) GENERATION (NE) Accentuate (SE) Big Dance (London) The Scottish Project Power of the Flame (Wales) Connections (N Ireland)
Funders
Legacy Trust UK
Olympic Lo5ery Arts Council England
Bri<sh Council, BP, BT, Panasonic
National programmes (LTUK)
Speed of Light, Land of Giants, Tate Movie, Games Time, Tree of Light
LOCOG team
What was the London 2012 Cultural Olympiad
Total Budget: £126.6m (LTUK: £35.7m)
Total staff: 75 FT roles
(11 outside London)
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Raising the bar for cultural programming
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Total activity
33.6k
84k
London 2012 Festival
Non-Festival
Close to 118k activities Across performances, exhibition days, sessions for education etc.
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Activity per region
0
2,000
4,000
6,000
8,000
10,000
12,000
14,000
16,000
18,000
20,000 Total Non-‐Fes:val ac:vity Total Fes:val ac:vity
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0
200
400
600
800
1000
1200
2011
2010
2009
2008
11%
6%
11%
5% 5% 3% 3%
22%
9%
5% 6%
5% 5% 5%
0%
5%
10%
15%
20%
25%
Open Weekend events
Inspire Mark events
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Activity type per region
0
2,000
4,000
6,000
8,000
10,000
12,000
14,000
Performances
Event / exhibi:on days
Sessions for educa:on, training or taking part
Other
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Artists per region (in percentage)
0%
10%
20%
30%
40%
50%
60%
Non-‐Fes:val ar:sts
Fes:val ar:sts
Total
Source: ICC/DHA Project Survey (N=551)
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Projects | What is new or different
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Projects per artform
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Projects | Themes • Young people and emerging talent
– 40% of projects targeted children or young people – 137 projects work with emerging artists,
totalling 6,160 artists – 61% of project participants are under 18
• Artists with disability – 64 projects work with Deaf and disabled artists,
totalling 806 artists – 80% of Unlimited commissions would not have
happened without the Cultural Olympiad; over half will continue in a similar form; all except two have secured future partnerships
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Projects | Themes • Outdoors & unusual places
– Programming within iconic outdoor tourist attractions and first time environments for art interventions
– 77% of such projects would not have happened
• Digital innovation – 70% of projects used digital innovation in their
promotion as well as to engage audiences – ‘Pop up’ or ‘surprise’ interventions relied almost
exclusively on audiences following social media – 40% of projects used digital activity in the creation of
artistic work
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Engaging Audiences and Communities
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Public Engagement Public engagement over the period of the Cultural Olympiad, across audiences, visitors, participants and volunteers, is estimated at 43.4 million.
Plus 204.4 million in broadcast/online views and hits
Fes:val Non-‐Fes:val Total
Attendances and visits – paid 4.7m 0.16m 4.9m
Total free public engagement (attendances and visits - free, participants and volunteers)
15.4m 23m 38.4m
Total attendances and visits 16m 21.3m 37.4m
Total public engagement 20.2m 23.2m 43.4m
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Engagement across the population Public intent to engage, and actual engagement with Cultural Olympiad, % by region Source: Nielsen/LOCOG State of the Nation (All people 16+), September 2012; DCMS, Taking Part (October 2011-September 2012)
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Benefits of engaging, 1 London 2012 Festival audience benefits and drivers for engagement Source: London 2012 Festival Audience Survey, Nielsen (ICC Analysis)
- seeing new kinds of events - coming together as a
community to share ‘once-in-a-lifetime’ experiences
- engaging in new kinds of activities
- bringing in groups who might not normally engage
- raising the positive profile of particular groups within the population
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Benefits of engaging 2 Proportion of all projects identifying different types of benefits for those engaging
Source: ICC/DHA Project Survey (base 551 projects)
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Future engagement London 2012 Festival audience, motivation by the Games to do more cultural activities by type of activity Source: London 2012 Festival Audience Survey, Nielsen
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Emerging legacies
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Emerging legacies • Legacies for the UK
– UK population were motivated to extend their engagement in culture in the context of the Games
– Those experiencing the Cultural Olympiad indicate a higher motivation to continue engaging in culture and the arts
– The Cultural Olympiad raised the profile of the UK’s cultural offer, showed new kinds of work to new types of audience and helped re-imagine iconic locations across the country
– Over half of projects and new partnerships will continue
• Legacies for other major events – Testing a new framework for nation-wide programming – Raising the bar for Deaf and disabled artist programming – Programming & dissemination innovations:
digital technology, use of unusual locations
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Thank you
www.beatrizgarcia.net www.culturalolympics.org.uk
European Capital of Culture 30 year overview available January 2014
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