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Audiences London Understanding Experience
 

Audiences London Understanding Experience

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  • More than a one night stand? Creating an audience legacy for special events 15 October 2008 Coin St neighbourhood centre, 108 Stamford St, London B. Garcia - www.beatrizgarcia.net

Audiences London Understanding Experience Audiences London Understanding Experience Presentation Transcript

  • Understanding people’s experience of major events spectators, participants, volunteers, viewers and browsers Dr Beatriz Garcia Director Impacts 08 – The Liverpool Model European Capital of Culture Research Programme More than a one night stand? Creating an audience legacy for special events Audiences London | London, 15 October 2008
  • Introduction & overview
    • Major events and audience development
      • Major (global) events, mainly understood as Media events
      • Growing barriers for direct/ live participation | accreditations, security, limited ticketing
      • Expectations for audience development (inclusion, diversity) via cultural activity
    • The Olympic Games
      • From elite sport event to global media phenomenon – who experiences it?
      • Cultural Olympiad – opportunity to expand audiences or just VIP entertainment?
    • Understanding people’s experience : The future for research
      • Lack of evidence base from previous Games editions
      • Improving research techniques: Audiences – more than spectators
  • Engaging people in the Olympics Role and legacies of the Cultural Olympiad
  • 1912 - 1988 | Olympic arts competitions and festivals
    • 1912- 1948: Olympic Arts Competitions
      • Pentathlon of muses: sculpture, painting, architecture, music, literature
      • Artists, like athletes, compete for gold, silver and bronze medals
      • 1936, Berlin: pinnacle of Olympic arts and cultural presentation
      • Issues: format and regulations are unstable and controversial; professional artists cannot compete; poor public communications
    • 1956- 1988: Olympic Arts Exhibitions and Festivals
      • Greater flexibility, embracing distinctive approaches and world-class artists
      • Mexico 1968: 1 year long, local and international, culture vs ‘developing’ economy
      • Montreal 1976: Canadian heritage; strong links with sports programme
      • Los Angeles 1984 : arts and culture, Hollywood style
      • Seoul 1988 : ancient culture, synergies ceremonies, flame relay and arts programme
      • Issues: Lack of linkage to the Games, poor media coverage, low public recognition
  • 1912- 1988 Cultural legacies | beyond the arts festival
    • Film and broadcasting
    • Graphic Design
    • Architecture
  • 1992 onwards | Cultural Olympiads
    • Key achievements
      • Barcelona introduces the concept of four-year cultural programme
      • This presents an opportunity to extend the Olympic experience beyond the host city and the two weeks of sport competition
      • Olympic Winter Games grow their cultural programmes
    • Games editions
      • 1988 - 1992: Barcelona - first 4-year cultural Olympiad
      • 1993 - 1996: Atlanta – celebrates the American South, Afro-American roots
      • 1997- 2000: Sydney – Aboriginal culture, national multiculturalism, international links
      • 2001 - 2004: Athens – humanism and civilization; Foundation for Cultural Olympiad
      • 2003 – 2008: Beijing – national song contests, folklore and heritage
      • 2007 – 2010: Vancouver - first Winter Games Cultural Olympiad, Art Legacies Now
    • Ongoing issues
      • Unstable budget, promotional conflicts, lack of linkage with main Olympic events
    • Consolidating public art schemes
    • Bringing (contemporary) art to mainstream venues + audiences
    • International arts touring
    • Large scale event choreography
    • Growing urban cultural tourism
    • Non-OAF cultural legacy: LiveSites!
    • Failed(?) cultural legacy: Cultural Olympiad Foundation
    1992 – 2008 cultural legacies
  • 1992 – 2010 cultural legacies | Winter
    • Environmental public art and design
    • Promoting ‘Legacies Now’
    • Arts & Creative industries links
    • Non-OAF cultural legacies
      • Salt Lake: Medals Plaza
      • Torino: Look of the City
      • Vancouver: Social software
  • areas for audience development within established Olympic programmes
  • Pre and post Games time
    • Pre Games time
      • Olympic day (23 rd June) | beyond Olympic runs (BOA)
      • Education programmes | linking sport and art in school curricula
      • International relations | link to NOC programmes
      • Torch relay | cultural activity alongside flame route – link content
    • Post Games time
      • Paralympic Games | disability arts initiatives – bridge between Games
      • Olympic infrastructure | bring activity to potentially underused venues
  • During Games time
    • Understand / preview how the ‘Olympic city’ operates
    • What works best
      • Open air activity – particularly if coordinated with crowd flows
      • Public art in key / symbolic locations – city venues, Olympic venues
      • Visual arts (free) exhibits in central locations
    • Key Olympic programmes to understand / link to:
      • Street activity | Live Sites / [Carnival / street art]
      • Public Design | Look of the Games / Look of the City / [Public art]
      • Volunteering | supporting sports as well as arts and cultural venues
    • Non-saturated Olympic environments (potential caught audiences)
      • Youth Camp | cultural provision for NOC-invited children
      • Training Camps | cultural provision for athletes
      • National Houses | cultural provision for national delegations
  • Challenges (and opportunities) for Olympic arts and cultural engagement
  • Challenges | Current Olympic structures
    • Olympic marketing regulations
      • TOP sponsorship prevents competitor commercial funding contribution to Olympic branded programmes / activities
      • Cultural partners cannot use Olympic branding if they acknowledge support of non-Olympic commercial sponsors
    • Olympic media structures
      • Broadcasting right holders focus on sport competition and ceremonies; lack of expertise to cover cultural stories
    • Olympic security
      • Limiting the use of the street / public spaces
      • Increased control of (spontaneous) people’s celebration
  • Challenges | Current Olympic structures
    • Olympic marketing regulations
      • TOP sponsorship prevents competitor commercial funding contribution to Olympic branded programmes / activities
      • Cultural partners cannot use Olympic branding if they acknowledge support of non-Olympic commercial sponsors
    • Olympic media structures
      • Broadcasting right holders focus on sport competition and ceremonies; lack of expertise to cover cultural stories
    • Olympic security
      • Limiting the use of the street / public spaces
      • Increased control of (spontaneous) people’s celebration
    Lack of protection for funding & branding media & comms public access
  • Solutions?
    • Olympic marketing regulations
      • TOP sponsorship prevents competitor commercial funding contribution to Olympic branded programmes / activities
      • Cultural partners cannot use Olympic branding if they acknowledge support of non-Olympic commercial sponsors
    • Olympic media structures
      • Broadcasting right holders focus on sport competition and ceremonies; lack of expertise to cover cultural stories
    • Olympic security
      • Limiting the use of the street / public spaces
      • How does it affect spontaneous people’s celebration?
    Rethinking the approach to funding & branding media & comms public access “ Inspired by 2012” Olympic Legacy Trust New media environments User (youth) –driven Culturally motivated Look of the City LiveSites
  • IOC guidelines | new framework for 2016 candidates Making the most of the Olympic experience… The need to engage people
  • The need for thorough research models Understanding and measuring quality in major event cultural engagement
  • Research programme | synergies economic growth cultural vibrancy cultural participation social capital physical environment image & identity management employment tourism investment creativity production consumption access, outreach, diversity inclusion well-being quality of life infrastructures sustainability media coverage perceptions aims + objectives policy, strategy AHRC / ACE workshops AHRC/ESRC fellowship AHRC/ESRC PhD Plus KT partnerships with: LARC/Thrive, Culture Company, Tourism & Regen agencies (TMP, NWDA)
  • Workshops | Aim and Objectives
    • Main aim | to advance discussion on the quality and impact of cultural experiences and approaches to measurement.
    • Workshop objectives
      • Highlight strengths and challenges in the measurement and assessment of audience impacts - overcoming the focus on 'counting' audiences to understand the 'quality' and value of the experience
      • Review notions of audience and cultural engagement as applied to different artforms and mediums - in particular, the difference between physical and virtual audiences
      • Identify distinct characteristics of the notion of 'quality experience' and excellence as applied to different interpretations of audience and engagement
      • Communicate key issues emerging from established research across academics and practitioners and influence the set up of new research and evaluation programmes (ECoC post 2008 and Cultural Olympiad (2008-2012)
  • Workshops | Main themes
    • We will conduct three workshops over one year. Understanding ‘quality’ and appropriate measurements will frame the three workshops.
      • Jan 09: What do we mean by cultural audiences | set-up the scene, by reviewing current definitions and tensions in the interpretation of cultural engagement and outlining established research methodologies.
      • Apr 09: Experiencing quality in the visual arts | build on the same questions with a focus on cultural engagement in physical environments - particularly, the experience of public art vs gallery environments
      • Jul 09: Cultural engagement in virtual environments | focus on emerging questions around the effect of blurring amateur and professional production as well as the impact of increased interaction and the role of audiences as producers of content. Opportunities and challenges for measurement.
  • First workshop | start-up questions
    • What do we mean by cultural engagement?
    • Understanding the notion of impact and how to measure it
    • Distinctions between spectating and participating – levels of empowerment and interaction within a cultural experience
    • Experiencing cultural excellence and ‘quality’– overcoming the elitist vs popular dilemma
    • Free culture vs culture market place – what do we mean by public realm and how does it affect our experience as audiences
  • Workshops | Outputs and dissemination
    • Key outputs
      • Website, blog and contact database
      • Workshop summary reports | discussion issues and action points, presentations; reference resource; case study documentation.
      • Final report | conclusions and ways forward for academics and practitioners
    • Added outcomes
      • reinforcing links between the core group of speakers/researchers practitioners plus a range of stakeholders across academic, policy and practitioner circles.
      • enhancing the assessment of the Liverpool 2008 ECoC audience experience
      • point of reference for the Cultural Olympiad
    • Dissemination networks
      • Impacts 08, AHRC, Arts Council England
      • HE networks (link to LCACE and Culture Campus)
      • Supporting practitioners for additional subject-specific networks
    • Thank you
    • Beatriz Garcia
    • [email_address]
    • www.impacts08.net