page 1
page 2
page 3
page 4
page 5
page 6
page 7
page 8
page 9
page 10
page 11
page 12
page 13
page 14
page 15
page 16
page 17
page 18
page 19
page 20
page 21
page 22
page 23
page 24
page 25
page 26
page 27
page 28
page 29
page 30
page 31
page 32
page 33
page 34
page 35
page 36
page 37
page 38
page 39
page 40
page 41
page 42
page 43
page 44
page 45
page 46
page 47
page 48
page 49
page 50
page 51
page 52
page 53
page 54
page 55
page 56
page 57
page 58
page 59
page 60
page 61
page 62
page 63
page 64
page 65
page 66
page 67
page 68
page 69
page 70
page 71
page 72
page 73
page 74
page 75
page 76
page 77
page 78
page 79
page 80
page 81
page 82
page 83
page 84

UK since, offering a rare opportunity for the continuity of a cultural vision throughout the Olympiad. Arts Council England and its counterparts in Scotland, Wales and Northern Ireland have funded these positions, which have acted as a parallel coordination structure, liaising with, but not dependent on, the Organising Committee. This has provided much needed flexibility for locally-sensitive cultural programming, which previous Games have found difficult to manage within a centralised and Games-time oriented OCOG structure.In order to encourage new Games-related cultural programming and make it as inclusive and widely owned as possible, London stakeholders also agreed to create a parallel funding structure. The Legacy Trust UK was launched in 2008 and has become one of the three principal Cultural Olympiad funders, committing GBP 40 million towards four national programmes and 12 regional programmes which were asked to develop a strategy for sustainability after the Games. This is the first time that such an emphasis has been placed on the sustainability of the Games cultural programme, an approach that is consistent with the decision to appoint a Legacy Steering Committee for the Olympiad, and to fund a Cultural Olympiad Legacy evaluation programme. The commitment to a nationwide delivery structure has resulted in a range of key achievements. Firstly, the creation of a network of dedicated cultural operators with a common timeline and objectives has strengthened inter-regional relationships across the country and encouraged new ways of working. Most importantly, it has established a locally-trusted contact point for Games-related cultural activity, so that every region has had the same degree of opportunity to 'own' the Games.Secondly, the existence of a joint network, dedicated funding structure and distinct visual identity has made it easier to push the distinct themes and ambitions emerging out of the London 2012 Games vision into every corner of the country: from an emphasis on programming for youth; to highlighting the achievements of the disabled art movement (as part of strong Olympic and Paralympic activity synergies); new ways of exploring synergies between art, sport and health; as well as encouraging innovative approaches to exploring the Olympic Movement ideals, in ways that feel relevant to today's UK audiences. Furthermore, a nationwide social media project called #media2012 is uniting educators and artists to create opportunities to act as journalists covering the cultural dimensions of the Games, with an emphasis on its universal values. Ultimately, the creation of a sustained national network has also provided a more effective framework to channel regional activity into the London 2012 Games core narrative and to potentially become part of the 2012 Games long-term iconic imagery. It has also facilitated more sensitive synergies with other established Olympic programmes such as the Torch Relay and the LiveSites, which, under the banner of the London 2012 Festival, will highlight and showcase a greater range of Cultural Olympiad activity than has been the case in previous Games.GAMES-TIME CULTURE: THE LONDON 2012 FESTIVALThe work of the Creative Programmers and the Legacy Trust UK has been essential to ensure UK-wide involvement and expand opportunities for diverse and community-led contributions. In order for the Cultural Olympiad to reach out to the world, however, it is equally important to maximise media visibility and demonstrate excellence and scale comparable to the sporting competitions in the host city during Games time. This has been the core motivation behind the London 2012 Festival, presented as the culmination of the Cultural Olympiad. Contrasting with the wide scope of activity presented up to the end of 2011, the 2012 Festival has been curated by a sole artistic director, Ruth Mackenzie, focusing on the notion of world-class excellence, and placing an emphasis on scale, international significance and 'once-in-a lifetime' experiences. The Festival lasts from June to September 2012, bridging the final leg of the Torch Relay, the Olympic Games and the Paralympic Games. It will be launched across the country but the heart of the programme is focused on London during the Games-time period. In order to ensure maximum visibility for Olympic fans, specially-commissioned films will be showcased via Live Site screens across the city. Mackenzie has noted that her ambition is to encourage Right Projects such as Big Dance 2012 and Candoco Unlimited (below) are creating new ways to connect art and physical activity64 OLYMPIC REVIEW OLYMPIC RESEARCH CORNER

a different way to experience London so, beyond the celebration of British cultural icons - from Shakespeare to Hitchcock - the programme includes a range of surprising activities in unexpected places to showcase a 'hidden London'.THE CULTURAL LEGACY OF LONDON 2012The London 2012 Cultural Olympiad has aimed to advance the Olympic cultural agenda and prove that it is possible to expand the Games experience nation-wide and coordinate activity with diverse stakeholders. By the beginning of 2012, most of these promises have been met and could become a blueprint for future cultural programming. Conversations have already started with representatives from Rio 2016, which is the first Games to respond to a bidding proposition where culture is not treated as a separate chapter, but an integral part of the Olympic experience. The commitment towards extensive and varied research, observation programmes and evaluations of its immediate impact and legacy offers a strong indication that this will be possible. It is also an excellent reference for future Cultural Olympiad hosts, helping to ensure that this important dimension of the Games experience gains the visibility and recognition it deserves. ?Dr Beatriz García is Head of Research at the Institute of Cultural Capital and Senior Research Fellow in Sociology at the University of Liverpool. She has led research on the Olympic Games since 1999, undertaking data collection at eight Games to date. She has been involved as academic advisor on Culture and Education to the London 2012 team since the bid stage. Dr García is a member of the IOC Postgraduate Research Grant Selection Committee and has been appointed by London 2012 to conduct its Cultural Olympiad Evaluation. OLYMPIC REVIEW 65OLYMPIC RESEARCH CORNER