CulturalOlympiad
A ten year journeyA story of many partsA ten year journey
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2004 - Arts, Culture & Education Committee
2005 - The Bid – The Wedding of Sport and Art projects
2006 – Initial Culture team (x6) & Creative Programmers
2007 - Developed Inspire Mark and Programme
2008 - Launch of the Cultural Olympiad
2009 - Creation of Cultural Olympiad Board
2010 -Announcement of London 2012 Festival
2011 – Growth of Culture Team (x30)2012 - London 2012 Festival, finale of Cultural Olympiad
2013 – 15 Evaluation and reflection

Cultural Olympiad VisionVision• A world-class culturaloffering at the heart of theGamesAims• To bring the Games to thewhole of the UK• A UK wide programme
attracting new audiences• 10m free opportunities toattend

What we delivered• A £126m programme of arts and cultural events
o 621 productions and projects - 176 permanent art works

o 13,006 performances in 1,270 venues across the UK
o 200 commissions - 160 world and UK premieres• 80% of attendance was at free events - 16.5m attendances• 85% of attendees saw the Festival as a positive addition to theGames• 35% of all UK adults polled agreed that more people havetaken part in culture due to the Games

Participation & Audiences• Awareness of the Festival and CO was highest amongst:
o Younger age groups (esp. 16-24s at 38%)o BMEs (48% vs. 28% amongst white respondents)• 30% of attendees were 35 or under• 12.5% attendees or with attendees with disability/longterm illness• New Audiences – ‘Games Effect’
o RSC (44% of Stratford-Upon-Avon)o Shakespeare’s Globe (80% of Globe to Globe attendees)o ENO (60% of Dr Dee new to ENO and Opera)o Royal Academy (52% of David Hockney visitors)

StructureHowThe Cultural Olympiad• A four year programmearound the UK enabling
people to join in

National/InternationalImpact

Countdown
EventsLondon
2012
FestivalNational Projects

Building profile

The London 2012 Festival• A twelve week festival ofworld class art – the finaleof the Cultural Olympiad Local Reach

Inspire Projects

2008

2011

2012

21 Jun – 9 Sep

Innovations• Inspire Programme – non-commercial use of theLondon 2012 Brand enabled UK activity• London 2012 Festival mark – within brand family butwith additional degree of flexibility• Brand Guidelines – introducing concept ofseparation enabling venues with existing sponsors totake part

Fulfilling many roles• Cultural Tourism• Accessibility – near me• Surprise and delightCultural Tourism• 43% agreed that the events of 2012 have ‘mademe more interested in getting out and exploring theUK’(Nielsen: State of the Nation London 2012)• Visit Britain reported that creativity, heritage andculture were the only indicators to show aunanimously positive impact in their report Reviewof Impact of London 2012 Games on Perceptions ofBritain Overseas

Fire Garden, Stonehenge

Peace Camp, NorthumberlandFlags, The Giant’s Causeway

The Battle for the Winds, Weymouth BeachSomething near me• Awareness of the London 2012 Festival reached
41% in London and 29% across the UK(Nielsen: State of the Nation London 2012)

Dizzee Rascal, BBC Radio 1 Big Weekend

The Big Concert, Raploch, StirlingNoyes Fludde, Belfast Zoo

Adain Avion, Swansea

Lone Twin, The Boat ProjectSurprise and Delight“London has different ambitions. It’s arts programme...
is easily the most extensive and eclectic of themodern era.”
Financial Times

Hang on a minute lads, I’ve got a great idea…
De La Warr Pavilion, Bexhill on Sea

See No Evil, Bristol

Sue Austin, Creating the SpectaclePiccadilly Circus Circus

Circa and Fagiolini, How Like an AngelPrometheus Awakes, Greenwich

What we learned
1. Begin with one clear visiono An agreed delivery model and staffing structure from the beginningo One, interpreted programme around the countryo Quality

2. Support and leadership within the OCOG and sector
ooStrong governance arrangements to bring cultural sector on side
Representation on OCOG Board

3. Exploit interest and momentum of GamesoConsider integrated approach to all creative activity across the Games

4. One brand for all activity
oooMany brands dilute impact and lessen awareness
Flexibility to include venues with sponsors
Careful management of non-Olympic sponsors in existing relationships withvenues

Thank you
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