Beatriz Garcia Greenwich 2008


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Dr Beatriz Garcia\'s presention at the Olympic Legacy Conference, University of Greenwich, May 2008

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  • From Glasgow to Liverpool. Understanding the long term legacies of becoming European City of Culture Fourteen years after hosting the European Capital of Culture title, Glasgow remains a key point of reference for culture-led urban regeneration schemes. In the run up to the nomination of Liverpool as the second UK city to host this title in 2008, the UK media and most candidate bid proposals referred to Glasgow as the most successful example of such event and the model that most cities wanted to replicate. At this point, some questions arise: how relevant is Glasgow’s 1990 experience to the present and future of Liverpool? Which are the key lessons? And which aspects cannot be replicated and might require new models and new approaches to regeneration? This paper uncovers key findings from a three-year project investigating the long-term cultural legacies of Glasgow 1990 and sheds new light on both the positive and negative myths surrounding the definition, implementation and sustainability of such experience.
  • Beatriz Garcia Greenwich 2008

    1. 1. The creative legacy of the Olympics The symbolic dimension of the Games as a basis for long term sustainability Dr Beatriz Garcia Director Impacts 08 – The Liverpool Model European Capital of Culture Research Programme Olympic Legacies Greenwich University | 9 May 2008
    2. 2. Presentation outline <ul><li>Understanding cultural and creative legacies </li></ul><ul><li>IOC regulations for Olympic cultural activity </li></ul><ul><li>The cultural dimensions of the Games </li></ul><ul><li>The creative legacies of past Olympic Games </li></ul><ul><li>Opportunities and challenges for London </li></ul>
    3. 3. The legacy of major events <ul><li>Types of impact and legacy </li></ul><ul><ul><li>economic - inward investment, job creation, tourism growth... </li></ul></ul><ul><ul><li>environmental – infrastructure development, uses of public space, green agenda </li></ul></ul><ul><ul><li>social - confidence, aspirations, inclusion, access, participation </li></ul></ul><ul><ul><li>Additional, under-researched type of impact /legacy </li></ul></ul><ul><ul><li>cultural - codes of conduct, image, identity, cultural governance, creativity </li></ul></ul><ul><li>Protecting cultural and creative legacies to ensure sustainability </li></ul><ul><ul><li>“ Culture is not only one aspect of Olympic legacy but the source of all others” ( The Legacy of the Olympic Games Symposium , IOC & UAB: Lausanne, 2002) </li></ul></ul><ul><ul><li>Key elements: event ownership; community empowerment; strengthening citizenship; place image and identity; distinctiveness </li></ul></ul>
    4. 4. Research frameworks | Impacts 08 programme 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
    5. 5. official IOC regulations for Olympic cultural activity
    6. 6. IOC guidelines & structures for culture <ul><li>Official rationale for Olympic cultural programming </li></ul><ul><ul><li>Reflects the ideal of Olympism: ‘blending sport with culture and education’ </li></ul></ul><ul><ul><li>Must encourage understanding among nations and take place for as long as the Olympic Village is open </li></ul></ul><ul><li>Implicit rationale </li></ul><ul><ul><li>Vehicle to protect and promote the Olympic Movement symbolic dimension and Olympic protocol : Olympic flag, anthem, torch relay, medal ceremonies </li></ul></ul><ul><li>Structures at IOC level </li></ul><ul><ul><li>Commission for Culture and Education (biannual meeting, advisory) </li></ul></ul><ul><ul><li>Part-time executive post for culture (created in 2006) </li></ul></ul><ul><ul><li>International Olympic Academy (created in 1968) </li></ul></ul><ul><li>Official requirements (Theme 17) </li></ul>
    7. 7. IOC guidelines | Olympic candidature
    8. 8. IOC guidelines | Olympic candidature <ul><li>Theme 17 | Olympism and culture </li></ul>
    9. 9. IOC guidelines | Olympic candidature <ul><li>Theme 17 | Olympism and culture </li></ul>
    10. 10. IOC guidelines & structures for culture <ul><li>Lack of clear indicators to guide action </li></ul><ul><ul><li>No official format specifications </li></ul></ul><ul><ul><li>No established link between cultural programme and other Games programmes (ie. marketing, sponsorship, venue operations, legacy) </li></ul></ul><ul><ul><li>No specific programme monitoring through key stages (bid proposal – implementation – legacy) </li></ul></ul><ul><li>Resulting challenges </li></ul><ul><ul><li>No protected sources of funding – Olympic sponsorship regulations are currently detrimental to the cultural programme </li></ul></ul><ul><ul><li>No protected media & communications strategy – media rights agreements do not include clause on culture/arts coverage </li></ul></ul><ul><ul><li>No protected branding – cultural/arts activities often require a distinct identity; this tends to exclude the use of the rings </li></ul></ul>
    11. 11. the cultural dimensions of the Olympic Games
    12. 12. Cultural dimensions of the Olympic Games <ul><li>Official venues </li></ul><ul><li>Sporting arenas </li></ul><ul><li>Athletes village </li></ul><ul><li>Media village </li></ul><ul><li>Official programme </li></ul><ul><li>Sporting competition </li></ul><ul><li>Ceremonies, protocol </li></ul><ul><li>Hospitality </li></ul>Street activity Local icons Local context Look of the Games city views cultural venues ‘ LiveSites’ Look of the City
    13. 13. Cultural dimensions of the Olympic Games Street activity Local icons Local context city views cultural venues Alternative venues Alternative ‘programme’
    14. 14. Cultural dimensions of the Olympic Games
    15. 15. the creative legacies of past Olympics
    16. 16. Creative legacies | Classic examples <ul><li>Film and broadcasting </li></ul><ul><li>Graphic Design </li></ul><ul><li>Architecture </li></ul>
    17. 17. <ul><li>Emphasis on design </li></ul><ul><li>Promoting the city’s way of life – a sport event to promote a ‘cultural capital’ </li></ul>Creative legacies | Barcelona 1992
    18. 18. <ul><li>LiveSites! </li></ul><ul><li>Consolidating public art schemes </li></ul><ul><li>Bringing (contemporary) Aboriginal art to mainstream venues + audiences </li></ul><ul><li>International arts touring </li></ul><ul><li>Leading the field on large scale event choreography + physical theatre </li></ul>Creative legacies | Sydney 2000
    19. 19. <ul><li>Contemporary public art </li></ul><ul><li>Contemporary arts audiences </li></ul><ul><li>Urban tourism </li></ul>Creative legacies | Athens 2004
    20. 20. <ul><li>The Look of the City </li></ul><ul><li>Contemporary public art </li></ul><ul><li>Torino Design </li></ul>Creative legacies | Torino 2006
    21. 21. Creative legacies | Torino 2006
    22. 22. <ul><li>Promoting Legacies Now </li></ul><ul><li>Arts & Creative links </li></ul><ul><li>Emphasis on social software </li></ul>Creative legacies | Vancouver 2010
    23. 23. Areas of opportunity for Olympic creative legacy <ul><li>Street activity | Live Sites / Carnival / street art </li></ul><ul><li>Public Design | Look of the Games / Look of the City / Public art </li></ul><ul><li>International relations | international cultural networking </li></ul><ul><li>Volunteering | supporting sports as well as arts venues </li></ul><ul><li>Youth Camp | cultural provision for NOC-invited children </li></ul><ul><li>Training Camps | cultural provision for athletes </li></ul><ul><li>National Houses | cultural provision for national delegations </li></ul>
    24. 24. Challenges | Current Olympic structures <ul><li>Olympic marketing regulations </li></ul><ul><ul><li>TOP sponsorship prevents competitor commercial contribution to Olympic branded programmes / activities </li></ul></ul><ul><ul><li>Cultural partners cannot use Olympic branding if they acknowledge support of non-Olympic commercial sponsors </li></ul></ul><ul><li>Olympic media structures </li></ul><ul><ul><li>Broadcasting right holders focus on sport competition and ceremonies </li></ul></ul><ul><li>Olympic security </li></ul><ul><ul><li>Limiting the use of the street / public spaces? </li></ul></ul><ul><ul><li>How does it affect spontaneous people’s celebration? </li></ul></ul>London 2012 Re-thinking Olympic Branding + funding streams “ Inspired by London 2012”
    25. 25. Making it work | culture within the Olympics <ul><li>Position culture and education as a central component of the event hosting process from the bid onwards </li></ul><ul><li>Secure direct communication between the culture and education team, the event organising committee board and key event stakeholders beyond the cultural + creative fields </li></ul><ul><li>Bring cultural and creative partners to the board of directors </li></ul><ul><li>Establish culture-specific funding schemes </li></ul><ul><li>Link to other key event programmes: volunteering, ceremonies, torch relay, environment, legacy, as well as sports </li></ul><ul><li>Be part of the main Olympic communication campaign </li></ul><ul><li>Understand event media and sponsor needs </li></ul><ul><li>Work towards a holistic vision for sport, culture + education </li></ul>
    26. 26. To be continued... Thank you Dr Beatriz Garcia [email_address]