Legacy Trust UK Lifetime Review 2007-13

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Leaving a lasting legacy from London 2012 in communities throughout the UK Lifetime review 2007–13

description

Review of Legacy Trust UK's work from 2007-13. LTUK was set up to create a lasting cultural and sporting legacy from the London 2012 Olympic and Paralympic Games in communities across the UK. The Trust closes in late 2013.

Transcript of Legacy Trust UK Lifetime Review 2007-13

www.legacytrustuk.org

Leaving a lasting legacy from London 2012 in communities throughout the UK

Lifetime review 2007–13

Lifetime review 2007–13

Contents

Foreword 2

Section 1: Set up and grant making 2007–13 4About the Trust 6Mapping our legacy 8Our projects 10Making an impact 12Case studies 14

London 2012 22

Challenges 28

Post Games 2012–13 32

Section 2: Financials 34

Section 3: Learning opportunities 38Cross sector partnerships 40The importance of being a Supportive Funder 41Engaging people with disabilities requires a specific focus 41Sustainability 42Give young people a chance to take the lead 43A lasting difference for individuals 44Involve the whole of the UK 44

Securing matched funding in a recession 45

The last word 46

Acknowledgements 47

� Lifetime�Review�2007–13� 1

ForewordSince�2007,�Legacy�Trust�UK�has�been�at�the�forefront�of�creating��a�lasting�legacy�from�London�2012�for�communities�across�the�UK.

Dugald Mackie Chair

At�a�time�when�the�content�and�direction�of�the�Cultural�Olympiad�and�London�2012�Festival�was�still�under�discussion,�the�Trust�was�working�with�a�wide�range�of�partners�in�communities�across�the�country�to�create�bespoke,�innovative�and�engaging�projects�which�would�create�a�tangible�connection�to�the�Olympic�and�Paralympic�Games.�When�London�2012�was�still�a�distant�point�in�the�future,�and�scepticism�about�the�success�of�London�2012�was�in�its�early�stages,�Legacy�Trust�UK�was�not�only�creating�great�projects,�but�also�planning�for�a�lasting�legacy.

It�has�been�an�exciting�and�eventful�six�years�for�the�Trust,�and�we�have�achieved�much��in�a�short�period�of�time.�The�value�of�our�£40�million�endowment�has�more�than�doubled�with�£55.6�million�in�matched�fun�ding�for�our�projects.�We�have�engaged�over�1.6�million�participants�and�12�million�audience�members,�created�nearly�50,000�new�volunteering�opportunities�and�supported�over�11,000�emerging�artists.

This�lifetime�review�outlines�the�Trust’s�work�and�what�we�funded,�but�more�importantly,�reflects�on�what�we�have�learned,�and�how�this�could�be�useful�for�future�major�events�in�the�UK,�of�which�there�are�many�to�come.�The�Glasgow�2014�Commonwealth�Games;�the�Rugby�World�Cup�2015�and�2017’s�World�Athletics�Championships�are�just�some�of�the�upcoming�major�events,�and�we�hope�that�all�will�use�the�success�of�the�cultural�celebrations�of�London�2012�to�enhance�their�sporting�offer�to�engage�millions�more�people�across�the�UK��and�internationally.

Although�the�Trust�closes�at�the�end�of�2013,�our�legacy,�and�that�of�London�2012,�lives�on�through�the�success�of�the�projects�we�funded�and�the�communities�who�have�played�an�important�part�in�this�chapter�of�our�collective�history.

2� Lifetime�Review�2007–13

“ It has been an exciting and eventful six years for the Trust, and we have achieved much in a short period of time.”

Moira Swinbank OBE Chief�Executive

Six�years�ago�when�I�was�appointed�as�Chief�Executive�of�Legacy�Trust�UK,�I�was�both�exhilarated�and�daunted�in�equal�measure.�

Exhilarated�because�of�the�opportunity�it�offered�to�be�actively�involved�in�what�would�prove�to�be�one�of�the�most�memorable��years�in�my�lifetime,�but�also�daunted�by�the�challenge�of�delivering�value�against�the�£40�million�endowed�to�the�Trust.�Now,�looking�back�I�am�immensely�proud�of�what�we�have�achieved�and�the�wide-reaching,�creative�and�inspiring�programmes�we�have�delivered�across�the�UK.

A�number�of�challenges�presented�themselves�in�the�run�up�to�2012;�not�least�the�economic�crash�in�2008,�which�seemed�to�come�out�of�nowhere�and�threatened�the�financial�legacy�and�our�aspiration�to�double�the�value�of�our�endowment.�However�with�prudent�investmentand�sound�financial�advice�we�not�only�kept��it�intact�but�achieved�a�healthy�return�on��our�investments.�

We�were�also�operating�in�a�climate�of�public�and�media�cynicism�that�London�would�not�be�able�to�deliver�a�successful�Olympic�&�Paralympic�Games�and�reach�out�beyond�the�capital.�This�proved�to�be�untrue.�One�of�my�abiding�memories�will�be�the�thousands�of�people�who�turned�out�to�see�the�opening�night�of�the�London�2012�Festival�in�torrential�rain�at�Lake�Windermere,�who�left�the�outdoor�performance�soaking�wet�but�with�smiles�on�their�faces.�This,�for�me,�captured�the�essence�of�our�work�and�demonstrated�how�the�projects�we�funded�created�a�tangible�connection�between�communities�across�the�UK�and�London�2012.

Thanks�to�the�hard�work,�professionalism�and�dedication�of�the�team�assembled�to�run�the�Trust,�the�commitment�of�its�trustees�and�their�belief�in�the�Trust’s�vision,�and�the�support�of�our�partners,�we�were�able�to�deliver�an�amazing�programme�of�events�that�have�genuinely�left�a�cultural�and�sporting�legacy�across�the�UK.�I�would�like�to�express�my�thanks�to�all�of�them�for�the�immense�contribution�they�have�made.

Legacy�Trust�UK�leaves�behind�not�just�the�involvement�and�engagement�with�arts,�culture�and�sport�for�over�11�million�people,�but�also�millions�of�memories�of�London�2012�scattered�right�across�the�UK.�At�less�than�£4�per�head�of�our�original�investment,�I�would�say�that�was�money�well�spent.

“ Legacy Trust UK leaves behind not just the involvement and engagement with arts, culture and sport for over 11 million people, but also millions of memories of London 2012 scattered right across the UK.”

� Lifetime�Review�2007–13� 3

Section 1 Set up and grant making 2007–13

4� Lifetime�Review�2007–13�

On�6�July�2005,�London�won�the�fiercely�contested�bid�to�host��the�2012�Olympic�and�Paralympic�Games.�A�key�part�of�the�bid�was�a�commitment�to�young�people�and�a�UK-wide�legacy�that�would�last�well�beyond�the�Games�themselves.�To�ensure�that��these�commitments�were�met,�in�2007�a�unique�organisation�was�established�to�fund�a�range�of�innovative�and�engaging�sports�and�cultural�projects�in�the�run�up�to�and�during�the�Games.�And�so,�Legacy�Trust�UK�was�born.

� Lifetime�Review�2007–13� 5

+12mWe�have�engaged�over��12�million�audience�members

Created�through�funding�from�Big�Lottery�Fund�(£29�million),��the�Department�for�Culture,�Media�and�Sport�(DCMS)�(£6�million)��and�Arts�Council�England�(£5�million),�the�Trust�was�endowed��with�£40�million�to�create�a�lasting�cultural�and�sporting�legacy��from�the�Games.

About the Trust

“ The Trust will help us achieve our ambition of using the 2012 Olympic and Paralympic Games to inspire a generation of young people to learn about and get involved in their cultural heritage.”

� �Secretary�of�State�for�Culture,�Media�and�Sport�James�Purnell,�Legacy�Trust�UK�launch��November�2007

As�the�only�organisation�set�up�specifically�to�create�a�cultural�and�sporting�legacy�from�London�2012,�from�the�outset�Legacy�Trust�UK�was�in�a�unique�position�to�create�a�connection�to�the�Games�for�communities�across�the�UK.�In�2007�consortium�organisations�from�the�Bridges�Trust,�Business�in�the�Community,�East�London�Business�Alliance,�TimeBank�and�Yorkshire�Forward�came�together�to�create�the�new�Trust.�The�board�of�trustees�took�an�innovative�approach�to�developing�a�funding�model�which�focused�on�supporting�new�work,�emerging�artists�and�practitioners�and,�most�importantly,�giving�communities�the�opportunity�to�decide�how�they�would�celebrate�London�2012�in�their�area.

Not�wanting�to�dictate�UK-wide�programme�content�from�its�London�office,�the�Trust�sought�input�from�those�on�the�ground�who�had�a�real�understanding�of�their�their�communities’�needs�and�interests,�ensuring�that�London�2012�could�be�seen�as�an�opportunity�for�everyone�across�the�UK�to�take�action�on�their�own�terms.�This�grassroots�approach�led�to�the�creation�of�Advisory�Groups�in�each�nation�and�region�of�the�UK,�made�up�of�a�range�of�representatives�from�local�arts,�sports,�and�education�bodies�and�other�key�stakeholders.�The�Advisory�Groups�took�the�best�project�ideas�from�their�area,�created�an�overarching�programme�business�plan�and,�once�approved,�were�responsible�for�programme�management.��This�approach�created�buy-in�for�the�work��and�minimised�competition�between�organisations,�which�strengthened�the�programmes�and�allowed�them�to�move�quickly�into�delivery.�Each�nation�and�region�received�a�baseline�of�£500,000�plus�an�allocation�weighted�according�to�population�and�deprivation�indices.

6� Lifetime�Review�2007–13���

Over £55mThe�value�of�our�£40�million��endowment�has�more�than�doubled��with�£55.6�million�in�matched��funding�for�our�projects

Legacy�Trust�UK�funding�had�three�key�aims:

�— to�unite�culture,�sport�and�education,�in�line�with�the�values�and�vision�of�the�Olympic�and�Paralympic�Games

�— to�make�a�lasting�difference�to�all�those�involved

�— to�be�grassroots�projects,�often�small�in�scale,�and�unite�communities�of�interest�at�local�and�regional�level.

The�Legacy�Standard�was�created�to�ensure�that�all�projects�supported�met�the�aims�of��the�Trust�in�leaving�a�lasting�legacy�for�all�involved.�These�criteria�helped�establish�the�core�values�of�Trust�funded�projects�and�challenged�organisations�to�be�active�and�dynamic�in�their�work,�ensuring�that�legacy�was�embedded�in�projects�from�the�outset.

Legacy�Trust�UK�was�launched�by�Olympics�Minister�Tessa�Jowell�and�Culture�Secretary�James�Purnell�in�November�2007,�and�after�a�period�of�development,�the�majority�of�nations�and�regions�programmes�were�approved�the�following�year.

Legacy Trust UK Legacy Standard (from 2008)Projects�should:

�— �fit�at�least�one�of�the�three�key�themes��of�sport,�education�and�the�arts:�we�welcome�projects�which�encourage�a�joined-up�approach�across�these�themes�

�— �be�highly�visible�and�wide-reaching:�we�want�to�offer�diverse�communities�across�the�UK�the�chance�to�take�part�in�cultural,�educational,�and�sporting�activities�in�the�build�up�to�2012�Games�

�— �be�distinctive,�new�or�innovative:�we�encourage�new�ideas,�approaches�and�collaborations�and�exemplar�projects�

�— �offer�a�coherent�programme�of�high�quality�activities�with�clearly�defined�outcomes�

�— �demonstrate�a�lasting�legacy�by�making�a�sustained�difference�to�the�community�

�— �enjoy�public�support�and�demonstrate�community�engagement

�— �keep�overheads�low�and�make�best�use��of�existing�community�resources�and�facilities�

�— �be�accessible�to�all�and�foster�community�inclusion�by�encouraging�active�citizenship�and�greater�participation�in�community�life�

�— �encourage�the�development�of�participants�which�will�help�build�their�personal�capacity,�thereby�helping�them�to�achieve�their�potential�

�— �be�able�to�lever�significant�resources:��we�look�to�support�projects�which�can�expand�their�reach�and�impact�

�— �be�not�for�profit�and�revenue�projects�(although�some�capital�expenditure�may�be�considered�for�cultural�projects�at�the�discretion�of�the�Trustees).

� Lifetime�Review�2007–13� 7

Mappingour legacySince�2007�we�have�allocated�over�£40�million�to�cultural,�education�and�sporting�projects�across�the�UK.

Nations and Regions

1 Northern Ireland £1.3 million� Connections�brought�together�arts��

and�sports�in�six�projects,�working��with�diverse�groups�in�a�range�of�activities�including�dance,�carnival,�theatre�and�filmmaking.

2 S cotland £2.3 million� The�Scottish�Project�was�made�up�of�four�

strands�which�brought�together�volunteering,�physical�performance,�a�study�of�medicine�and�sport,�and�multi-cultural�community�engagement.

3 Wales £1.7 million� Power�of�the�Flame�brought�together��

five�cultural�and�heritage�projects,�with��a�focus�on�engaging�young�people��and�celebrating�Wales’�cultural�and��sporting�heritage.

4 East of England £1.5 million� Eastern�Rising�supported�a�range�of�

major�cultural�and�sporting�events�and�created�training�and�volunteering�opportunities�for�people�not�in�education�or�employment.

5 East Midlands £1.6 million� Igniting�Ambition�was�a�series�of�five�

annual�cultural�festivals�in�different�locations�in�the�region,�building�momentum�towards�the�summer�of�2012�and�a�region-wide�festival�of�arts�and�cultural�events.�

6 London £2.9 million� Big�Dance�was�a�biennial�festival�which�

took�to�the�streets�of�London�to�encourage�people�of�all�ages�to�take�part�in�dance.

7 North East£1.5 millionNE-Generation�set�out�to�create�a�shift��in�the�way�young�people�and�cultural�organisations�worked�together�in�the�North�East�by�supporting�young�people�to�take�the�lead�in�cultural�commissioning.

8 North West£3 millionWE�PLAY�celebrated�artistic�achievement,�digital�invention�and�art/sport�interactions�in�outdoor,�online,�public�and�social�spaces�through�three�projects�and�a�showcase�2012�Expo.

9 South East£1.9 millionAccentuate�aimed�to�create�a�cultural�shift�in�perceptions�and�understanding�of�disability�through�15�region-wide�cultural�projects.

10 South West£1.6 millionRELAYS�worked�with�universities�across�the�region�to�inspire�young�people�to��get�involved�in�new�sports�and�cultural�activities,�as�well�as�creating�thousands�of�volunteering�opportunities.

11 West Midlands£2.2 millionCommunity�Games�empowered�and�supported�communities�to�create�their�own�sporting�and�cultural�events�in�their�neighbourhood,�while�Dancing�for�the�Games�supported�hundreds�of�dance�activities�across�the�region.

12 Yorkshire£2.2 million imove�explored�human�movement�through�more�than�30�innovative�projects�in�the�region,�which�included�a�sea�swimming�art�club�in�Scarborough�and��a�community�opera�in�Scunthorpe.

National

Tate Movie£2.9 millionA�UK-wide�animation�project,�Tate��Movie�led�to�the�creation�of�a�20�minute�animated�film�drawn�entirely�by�children�and�voiced�by�personalities�including�David�Tennant.

somewhereto_£4.8 millionWorked�with�space�owners�and�young�people�across�the�UK�to�open�up�empty�spaces,�including�a�music�stage�at�the�Olympic�Park,�for�young�people�to�do�the�things�they�are�passionate�about.

Community Celebrations£3 millionFour�high�profile�outdoor�celebrations�across�the�UK�were�chosen�to�be�part�of�this�strand:�Land�of�Giants�in�Northern�Ireland;�Speed�of�Light�in�Scotland;�Games�Time�in�the�East�Midlands�and�Tree�of�Light�in�the�South�East.

UK School Games£7.5 millionAn�annual�multi-sport�event�for�school�children�to�represent�their�nation�or�region�in�one�of�12�sports,�encouraging�more�young�people�to�take�part�and�succeed�in�sport.

Transitions projects£1.1 million

� �

� �

8� Lifetime�Review�2007–13�

Over £40mWe�have�allocated�over�£40�million��to�projects�across�the�UK

� Lifetime�Review�2007–13� 9

2

Scotland

£2.3m

1

Northern Ireland

£1.3m

North East

£1.5m

7

North West

£3m

8

3Wales

£1.7m

West Midlands

£2.2m 11

10South West

£1.6m

12

Yorkshire

£2.2m

9

South East

£1.9m

6London

£2.9m

4

East of England

£1.5m

5

East Midlands

£1.6m

Our projectsThe�Trust�set�out�to�reach�across�the�UK�with�its�funding,�creating�an�overarching�programme�in�each�nation�and�region�as�well�as�four�national�programmes,�and�established�a�programme�team�in�each�area�to�manage�delivery�and�report�to�the�Advisory�Group.�

These�teams�were�based�within�existing�structures:�eight�were�located�within�regional�Arts�Council�offices,�while�the�remaining�four�were�based�at�organisations�relevant�to�their�programme�focus.�This�allowed�programme�teams�to�make�use�of�existing�infrastructure��to�reduce�costs�and�focus�immediately�on�programme�development�and�delivery,�rather�than�securing�office�space�and�resources.�

The�programme�teams�also�brought�insight�and�understanding�of�their�particular�area�which�allowed�them�to�create�support�for�their�programmes�and�work�closely�with�partners��to�ensure�success.�The�Trust�created�a�unique�network�of�programme�leads�across�the�UK�that�actively�shared�knowledge�with�one�another�and�were�a�vital�resource�for�London�2012�staff�who�were�located�regionally�as�well�as�in�London.�

The�majority�of�programmes�were�made�up��of�smaller�projects,�all�of�which�contributed�towards�the�overall�goals�of�each�programme.�Projects�supported�by�the�Trust�were�varied�but�linked�through�their�common�goal�of�creating��a�lasting�legacy�from�the�Games.�From�2008-2012,�the�Trust�funded�over�100�local�projects�across�the�UK,�encompassing�a�wide�range�of�cultural,�sporting�and�educational�activity.

LocalThe�Trust�funded�12�local�programmes�across�the�UK.�Each�nation�and�region�had:

�— an�overarching�themed�programme�lasting�until�2012

�— a�locally�based�Legacy�Trust�UK�programme�team�situated�within�a�host�organisation

�— an�Advisory�Group�made�up�of�key�regional�arts,�sport,�education�bodies�and�other�stakeholders

�— £500k�plus�an�allocation�based�on�deprivation�and�population�indices

�— a�range�of�individual�projects�based�on�the�nation�or�region’s�thematic�programme

�— a�clear�community�focused�remit

�— a�direct�link�to�the�London�2012�Olympic�and�Paralympic�Games.

NationalThe�Trust�also�allocated�£16�million�across�four�national�projects.

Community Celebrations (£3 million)Four�high�profile�events�were�chosen�to�be��part�of�this�strand,�which�saw�communities�in�Scotland,�Northern�Ireland,�the�East�Midlands�and�the�South�East�get�involved�in�creating��and�producing�a�large�scale�outdoor�event��in�their�area.

somewhereto_ (£4.8 million)This�project�helped�young�people�access�space�to�do�the�things�they�love�by�working�with�space�owners�across�the�UK.�The�project�had�a�team�in�each�nation�and�region�who�worked�locally�with�young�people�to�identify�and�open�up�empty�spaces�for�a�diverse�range�of�cultural�activity.

Tate Movie Project (£2.9 million)Delivered�in�partnership�with�Tate,�Aardman�Animations�and�CBBC,�with�additional�support�from�BP,�this�animation�project�worked�with�primary�school�children�across�the�UK�in�workshops�and�online�to�create�a�20�minute�animated�film.�Children�devised�storylines�and�created�all�the�visual�content�for�the�film,�which�was�voiced�by�well-known�personalities�including�David�Tennant,�David�Walliams�and�Catherine�Tate.

UK School Games (ringfenced £7.5 million from DCMS)Annual�competition�for�talented�school�aged�athletes�to�represent�their�nation�or�region�at�a�four�day�multi-sport�event.�The�Games�aimed�to�encourage�more�young�people�to�take�part�and�succeed�in�sport.

+100The�Trust�funded�over�100�local�projects�across�the�UK

10� Lifetime�Review�2007–13���

£1.1mIn 2012 the Trust allocated� � � � �an additional £1.1 million� � � �across six existing projects� � � ��to help them expand� � �

Transition Projects (2012–13)In�2012�the�Trust�allocated�an�additional�£1.1�million�across�six�existing�projects�to�help�them�expand�and�embed�their�work�as�a�result�of�the�Trust’s�ongoing�support.�

Abandon Normal Devices (AND), a new cinema and digital festival�in�the�North�West�received�funding�to�widen�its�offer�and�develop�a�new�programme�based�on�its�expertise�in�building�cross�sector�partnerships.�AND�has�become�an�independent�agency�and�is�working�with�artists�and�partners�on�a�number�of�strands�across�the�North,�which�will�be�AND�in�style,�substance�and�audience�engagement.�The�project�also�delivered�its�annual�Festival�in�Liverpool�in�October�2013.

Accentuate, a programme challenging the perception of disability in the arts in�the�South�East,�was�supported�to�consolidate�their�work�and�focus�on�two�main�strands�–�developing�their�heritage�programme�of�work�and�their�online�film�resource�uScreen�into�Accentuate�Young�Voices.�Accentuate�also�organised�a�symposium�in�partnership�with�the�University�of�Brighton�in�July�2013,�which�took�a�critical�look�at,�and�debated,�the�impact�of�the�Paralympics�one�year�on.�

With�transition�funding�CREATE,�an�arts�organisation�working�in�East�London,�invested�in�four�long�term�projects�that�will�run�until�2015,�from�focusing�on�health�by�innovating��a�healthy�chicken�shop�to�become�a�community�hub,�to�opening�up�a�disused�space�in�Walthamstow�for�the�local�community�to�make�and�mend�in�workshops.�CREATE��also�produced�the�Open�East�Festival�at�the�Olympic�Park�to�celebrate�the�year�anniversary�of�London�2012�and�invested�in�organisational�development�after�becoming�an�independent�organisation.�

imove,�a�celebration�of�human�movement�in�Yorkshire,�established�itself�as�an�independent�organisation,�imove�arts,�supporting�the�growth�and�sustainability�of�four�of�its�participatory�projects;�Sea Swim, Runs on the Board, Synchronised�and�Stanza Stones.�imove�also�recurated�its�main�programme�in�a�performance�called�Salt�Song�in�early�September�2013�and�plans�to�develop�a�new�festival�in�2014.

Norfolk & Norwich Festival was�supported�to�undertake�research�and�development�of�a�mass�participation�rural�spectacular�for�a�performance�in�2014.�Over�the�last�year�they�have�been�able�to�develop�an�ambitious�community�engagement�programme�that�started�in�autumn�2013,�find��a�suitable�outdoor�space�for�the�performance�and�also�develop�an�artistic�outline�of�the�promenade�theatre�piece�performance.�

RELAYS�focused�on�cementing�and�integrating�their�learning�on�community�events�and�engagement�with�children�and�university�volunteers�within�widening�participation�departments�in�all�Higher�Education�Institutions�across�the�South�West.�By�having�an�additional�year�of�dedicated�resource�within�all�HEIs�the�RELAYS�model�will�now�be�a�core�part�of�all�widening�participation�activities�in�the�region�in�the�future.

“ Our village is only small and the event was not on a massive scale, but it still really mattered. The importance of these community events cannot be underestimated. It brought people together, to make new friends and catch up with old. It breaks down barriers and brings people together in an environment which is friendly and fun.”

� �Community�Games�organiser�

� Lifetime�Review�2007–13� 11

Making an impactSome highlights...Nations and Regions

1 Northern Ireland ImagineAction�worked�with�700�

young�people�over�three�years,�creating�three�new�musical�productions�and�is�continuing�with�drama�workshops�thanks�to�high�demand�from�participants.

2 Scotland Speed of Light blended�nature�and�

light�in�stunning�light�pattern�performances,�which�featured�8,972�runners�and�walkers�in�total.�Speed�of�Light�has�now�become�a�real�movement�and�has�been�staged�in�Yokohama�in�Japan,�in�Manchester�and�in�the�Ruhr�region�in�Germany.

3 Wales Cauldrons and Furnaces engaged�

over�27,000�people�across�eight�heritagesites,�responding�to�the�sites’�ancient�history�through�cultural�activity.�As�a�result�of�its�success,�Arts�Council�Wales�and�heritage�body�Cadw�have�created��a�partnership�which�will�develop�art�at�heritage�sites�until�2015.

4 East of England� � More�than�5,000�swimmers�took�part�in�

the�Great East Swim between�2009-2011,�and�the�event�is�now�a�regular�feature�in�the�East’s�sporting�calendar.

5 East Midlands Games Time engaged�over�1,300�

community�performers�and�attracted�45,500�spectators�Their�partnership�with�East�Lindsey�District�Council�resulted�in�the�council�increasing�its�cultural�budget�six�fold�after�seeing�the�successful�participation�and�volunteering�that�Games�Time�generated.

6 London� � In�2012,�121,000�children�and�young�

people�in�22�countries�across�the�world�took�part�in�Big Dance’s�School�Pledge.�The�project�was�so�successful�that�the�British�Council�supported�it�in�2013�as�part�of�its�programme�of�activities.

7 North East Time Travel Northumberland

aimed�to�make�local�history�interesting�and�accessible,�engaging�2,372�young�people�in�the�area.�Delivery�organisation�Woodhorn�Museum�is�now�leading�a�consortium�that�has�secured�£2.4�million�over�three�years�from�Arts�Council�England.

8 North West Lakes Alive has�had�an�economic�

impact�of�nearly�£10�million�on�the�Lake�District�economy�between�2009�and�2012.�It�became�an�Arts�Council�England�National�Portfolio�Organisation�in�2012,�and�has�attracted�audiences�of�257,000�from�across�the�UK�and�internationally.

9 South East uScreen�combined�ground-breaking�

digital�filmmaking�technology�with�British�Sign�Language,�subtitles,�visual�captioningand�audio�description�for�young�deaf�and�disabled�people.�It�engaged�over�4,000�users�and�won�an�Ability�Media�International�Award�for�Interactivity.

10 South West RELAYS�engaged�over�192,000�people,�

attracted�436,000�spectators�and�created�7,700�placement�and�volunteering�opportunities�for�university�students.�Its�practice�in�engaging�with�schools�is�now�being�embedded�into�all�Higher�Education�Institutions�in�the�region.�

11 West Midlands Community Games’�success�led�to�

£2.9�million�funding�from�the�Government’s�Social�Action�Fund�to�roll�the�project�out�across�England.�Over�1,600�events�have�taken�place�so�far,�engaging�36,847�volunteers�and�one�million�participants,�with�plans�currently�underway�to�secure�the�project�until�2016.

12 Yorkshire � � Based�at�beach�huts�on�Scarborough’s�

South�Bay,�swimming�and�art�club�Sea Swim has�engaged�over�2,000�adult�swimmers�and�school�children��in�creative�activities.�The�club�has�been��so�successful�that�the�local�council�has�agreed�to�loan�the�huts�to�the�project�on�a�long�term�basis.

13 UK School Games� � During�Legacy�Trust�UK�funding�of�the�

UK School Games,�it�grew�from�nine�to�12�sports,�engaged�over�6,300�young�people�as�athletes,�had�over�1,500�volunteers�and�attracted�Sainsbury’s�as�a�headline�sponsor.�The�programme,�now�called�the�Sainsbury’s�School�Games,�continues�to�take�place�annually.�

14 somewhereto_ somewhereto_�worked�with�over�

7,000�young�people�across�the�UK�connecting�them�with�a�space�to�do��the�things�they�love.�The�programme��is�continuing�until�2016�thanks�to�a��£7�million�grant�from�Big�Lottery�Fund.�

15 Tate Movie Tate Movie created�an�animated�film�

made�by�and�for�children,�which�featured�� voices�by�David�Tennant,�Catherine�Tate�

and�David�Walliams.�Over�35,000�children�from�across�the�UK�took�part,�and�the�project�won�a�Children’s�BAFTA�for�best�interactive�media.

National

12� Lifetime�Review�2007–13�

“We have been so inspired by the project that we are hoping to plan a community arts project and will seek to engage with local creative artists and work with the community to develop a joint school-community arts project” �Teacher�involved�in�Tree�of�Light,��South�East

1

7

15

8

9

2

3

12

4

5

6

Involved +2,300Time Travel Northumberland�aimed�to�make�local�history�interesting�and�accessible,�engaging�2,372�young�people�in�the�area.

+16,000 eventsOver�1,600�Community Games’�events�have�taken�place�so�far. 11

7,700 volunteersIts�practice�in�engaging�with�schools�is�now�being�embedded�into�all�Higher�Education�Institutions�in�the�region.�

Engaged +4,000It�engaged�over�4,000�users�and�won�an�Ability�Media�International�Award�for�Interactivity.

10

13

+5,000 participantsMore�than�5,000�swimmers�took�part�in�the�Great East Swim.

14+7,000 young peoplesomewhereto_�worked�with�over�7,000�young�people�across�the�UK�connecting�them�with�a�space�to�do�the�things�they�love.

Making an impact

National

� Lifetime�Review�2007–13� 13

Case studies

14� Lifetime�Review�2007–13�

Tate Movie

+193,000Over�193,000�pieces�of�animation,�sound,�drawing,�or�script�were�created

The project achieved a Guinness World Record and went on to win a Children’s BAFTA

Tate�Movie�was�the�first�of�its�kind�–�an�innovative�UK-wide�animation�project�aimed�at�primary�school�aged�children�across�the�UK.�

Delivered�in�a�unique�partnership�between�Tate,�Aardman�Animations�(the�team�behind�Wallace�and�Gromit)�and�CBBC,�the�project�created�a�20�minute�animated�film�entirely�from�drawings,�sound�effects�and�suggestions�from�children.�

The�team�transformed�the�inside�of�an�articulated�truck�into�an�animation�studio�and�toured�the�UK,�stopping�off�at�galleries,�schools�and�community�events�to�use�works�of�art�in�galleries�as�a�basis�for�workshops�and�give�children�the�opportunity�to�learn�about�animation�and�try�it�for�themselves.�The�truck�reached�over�9,000�children�in�81�locations�across�the�country.

For�those�who�could�not�get�to�a�workshop,��the�website�provided�a�range�of�opportunities�to�learn�about�aspects�of�filmmaking,�such�as�creating�sound�effects�and�animating�drawings.�The�team�had�over�25,000�unique�users�and�regularly�put�out�call�outs�for�items�they�needed�for�a�scene,�such�as�drawings�of�pirates�and�alien�sound�effects�as�well�as�story�ideas�and�suggestions�for�celebrities�to�voice�the�characters.�Between�them,�website�users�created�193,158�pieces�of�animation,�sound,�drawing,�or�script�–�65,979�of�which�were�submitted�to�the�project.

A�host�of�British�talent�signed�up�for�the�project,�including�David�Tennant,�Harry�Enfield,�David�Walliams�and�Catherine�Tate.�The�film,�entitled�Itch�of�the�Golden�Nit,�premiered�in�Leicester�Square�in�2011,�was�broadcast�on�the�BBC�and�screened�at�Vue�cinemas�and�London�2012�screens�across�the�UK.�The�project�achieved�a�Guinness�World�Record�for�the�most�individual�contributions�to�an�animated�film,�and�went�on�to�win�a�Children’s�BAFTA.

LocationUK-wide

Funding£3�million�from�Legacy�Trust�UK�with�additional�£1�million�support�from�BP

Project activity2010–2011

Main delivery partnersTate,�Aardman�Animations,�CBBC

Participants35,000�primary�school�aged�children

� Lifetime�Review�2007–13� 15

Community�Games�is�an�England-wide�project�that�encourages�communities�to�organise�and�participate�in�their�own�community�events�with�a�range�of�sports�and�cultural�activity�for�all��the�family.

The�project�drew�on�the�inspiration�of�Dr�William�Penny�Brookes’�Wenlock�Olympian�Games,�which�had�a�significant�impact�on��the�development�of�the�modern�Olympic�movement�when�Pierre�de�Coubertin,�the�founder�of�the�modern�Games,�visited�Much�Wenlock�in�1890.�

Community�Games�started�life�as�part�of��our�wider�West�Midlands�programme�which�supported�a�range�of�dance�and�healthy��living�projects.�After�a�year�of�pilots,�it�was�launched�in�Much�Wenlock�in�May�2010��by�Olympians�Jonathan�Edwards�CBE�and�David�Moorcroft�OBE.�

In�the�first�year,�29�events�took�place�across�the�region�with�over�19,000�participants.�Each�was�unique,�but�all�encompassed�the�values�of�the�Olympic�and�Paralympic�Games.�Each�of�the�Games�had�a�range�of�sporting�and�cultural�activity,�including�relays,�egg�and�spoon�races,�face�painting,�crafts�and�photography�as�well�as�an�opening�or�closing�ceremony.

By�2011�the�project�was�gathering�momentum�with�193�events�across�the�West�Midlands.��The�team�created�a�partnership�with�the�County�Sport�Partnership�network�and�the�YMCA,�and�with�support�from�the�Trust,�successfully�applied�to�the�Office�for�Civil�Society’s�Social�Action�Fund,�which�provided�£1.3�million�for�the�project�to�roll-out�across�England�in�2012,�plus�a�further�£1.6�million��to�sustain�the�project�into�2013�and�beyond.

In�2012,�1,648�Games�took�place�across�England,�involving�nearly�37,000�volunteers�and�over�one�million�participants.�72%�were�first�time�events�and�13%�had�been�running��for�more�than�three�years.

Community�Games�was�featured�as�part�of��a�long-running�story�line�in�Radio�4’s�‘The�Archers’�as�Ambridge�prepared�for�its�own�Community�Games�in�July�2012.

As�a�result�of�the�tremendous�success�of�Community�Games�during�2012�the�Cabinet�Office�agreed�to�release�additional�funding�from�the�Social�Action�Fund�to�continue�support�for�Community�Games�in�2013.��It�is�estimated�that�two�million�people�across�England�will�have�participated�in�a�Community�Games�event�by�the�end�of�2013.�Partners�are�now�working�to�secure�the�future�of�the�project�until�at�least�2016,�leaving�a�lasting�legacy�from�London�2012�and�from�Legacy�Trust�UK’s�support�for�thousands�of�communities.�

Community Games

The project drew on the inspiration of Dr William Penny Brookes’ Wenlock Olympian Games

LocationWest Midlands followed� � ��by England roll-out� �

Funding£365k from Legacy Trust UK� � � � �for West Midlands� � �programme; £2.9 million from� � � �the Social Action Fund for� � � � �England-wide activity�

Project activity2010–ongoing

Main delivery partnersCounty Sports Partnership� � �network, YMCA�

ParticipantsMore than one million people� � � � �and 37,000 volunteers in� � � �nearly 2,000 communities� � �

In�2012,�1,648�Games�took�place�across�England�thanks�to�additional�funding�from�the�Social�Action�Fund

1,648

16� Lifetime�Review�2007–13���

Sea Swim

LocationScarborough

Funding£45k�from�Legacy�Trust�UK�as�part�of�Yorkshire-wide�imove�programme�with�additional�support�from�Scarborough�Council�

Project activity2011–ongoing

Main delivery partnersArtist-led�project

ParticipantsApproximately�2,000�people�and�over�100�volunteers

“ I used to say I can’t; I used to say I’m worried; I used to say I’ve no confidence; I now say I can, I’m not and I have. Thank you, Sea Swim.”

An�artist-led�project�bringing�together��sea�swimming�and�creative�learning,��Sea�Swim�opened�up�new�activities�and�experiences�to�residents�of�Scarborough��and�its�surrounding�area.�Sea�Swim�is�part�swimming�club�and�part�art�club,�celebrating�the�creative�inspiration�that�a�dip�in�the�ocean�can�bring.�The�Club�welcomed�everyone�to�their�HQ�situated�on�Scarborough’s�South�Bay�in�a�pair�of�beach�huts�transformed�into�mini-galleries,�bursting�with�the�artworks�created�by�club�members.

Over�800�members�took�part�in�regular�swims�at�Scarborough�and�other�nearby�coastal�locations�in�2011.�Alongside�regular�swims,�the�project�team�also�ran�an�education�strand,�encouraging�children�from�local�schools�to�visit�the�beach�for�swims�and�artistic�workshops,�which�included�sculpting,�painting�and�writing.�The�Sea�Swim�team�discovered�that�many�local�children�had�never�been�to�South�Bay�or�swum�in�the�sea�before,�but�in�2011�alone�over�550�local�children�took�part.

An�exhibition�of�2011�artworks�launched�at�Scarborough�Woodend�Gallery�brought�together�writing,�film,�soundscape�and��images�created�over�the�course�of�the��summer�by�participants�reflecting�the��‘Sea�Swim�experience’.

In�2012,�the�project�expanded�to�include��artist�residencies,�a�curated�programme�of�exhibitions,�readings�and�performances�and��a�series�of�‘Big�Swim’�events.�‘Minnows’�was�set�up�as�place�for�swimmers�to�leave�their�children�in�safety�while�they�swam,�while�Widening�Participation�work�with�the�University�of�Hull�led�20�hard-to-reach�teenagers�to�produce�poems�and�record�audio�for�soundscapes�connected�with�South�Bay,�using�the�university’s�music�technology�suite.�They�then�created�short�films�to�complement�the�soundscapes�and�their�recorded�work�was�performed�at�the�beach�huts.�

More�than�1,100�people�took�part�in�the��2012�programme,�including�500�children��and�young�people.�The�project�attracted�national�attention,�and�with�Legacy�Trust�UK’s�Transitions�Fund�support,�the�team�aim�to�establish�the�project�not�only�in�other�coastal�towns�across�the�UK,�but�potentially�in�international�locations�in�partnership�with�major�galleries.

� Lifetime�Review�2007–13� 17

Land of GiantsPart�of�Legacy�Trust�UK’s�Community��Celebrations�strand,�which�supported�four��large�scale�outdoor�projects,�Land�of�Giants�brought�together�people�from�across�Northern�Ireland�for�a�spectacular�performance�on�Belfast’s�Titanic�Slipways�in�June�2012.

The�theme�for�the�project�drew�inspiration�from�the�many�giants�identified�in�the�shared�and�diverse�history�and�society�of�Northern�Ireland�–�Jonathan�Swift’s�Gulliver,�Harland�and�Wolfe’s�iconic�Samson�and�Goliath�cranes,��the�ships�the�Olympic�and�Titanic,�Belfast’s�industrial�past�as�represented�by�the�linen�industry�and�the�Giant’s�Causeway�–�as�well�as�the�vision�of�Northern�Ireland�and�its�population�as�being�giant�in�terms�of�ideas,�talent�and�heritage.�Central�to�the�story�was��a�series�of�biographies�of�past�and�present�citizens�of�the�city.

The�main�event�was�preceded�by�a�number��of�workshops,�installations�and�performances�for�children�as�well�as�a�touring�street�show�‘Journey�to�the�Land�of�Giants’�involving�young�performers�from�local�theatre,�circus�and�gymnastics�groups.

As�part�of�the�main�event,�the�project�team�delivered�Circus�Arts�for�Employment,�a�ten�month�training�opportunity�for�19�students�who�trained�in�a�wide�range�of�circus�techniques�to�deliver�the�backbone�of�the�performance�and�to�leave�a�legacy�of�experienced�professional�artists�in�Northern�Ireland.�The�project�team�also�recruited�138�participants�from�across�the�country�to�take�part�in�a�mass�percussion�band�as�part�of�the�performance.�The�band�was�made�up�of�professionals�and�amateurs,�and�included�a�full�mix�of�drums�practiced�in�Northern�Ireland�including�traditional�drums�the�lambeg�and�bodhran.�In�a�similar�way,�a�community�choir�and�a�cast�of�volunteers�were�created�from�groups�and�individuals�to�perform�at�the�main�event.

A�total�of�629�participants�were�directly�involved�in�the�project�and�its�constituent�parts.�482�of�these�were�volunteers�and�the�majority�received�some�element�of�training�to�undertake�their�role.

The�main�performance�attracted�over�18,000�people�and�considerable�media�coverage,�showcasing�Northern�Ireland�on�the�international�stage.�The�production�itself�involved�large�numbers�of�participants,�developing�talent�for�future�events�and�building�capacity�in�the�events�sector�ahead�of�Derry/Londonderry’s�reign�as�the�UK’s�first�City�of�Culture�and�Northern�Ireland�hosting�the�World�Police�and�Fire�Games�in�2013.

Central to the story was a series of biographies of past and present citizens of the city

LocationBelfast�with�supporting�work�in�other�areas�of�Northern�Ireland

Funding£787k�from�Legacy�Trust�UK�with�additional�support�from�Northern�Ireland�Tourist�Board,�Belfast�City�Council�and�Arts�Council�Northern�Ireland

Project activity2011–2012

Main delivery partnersGiant�Events�Company��(Young�at�Art,�Belfast�Community�Circus�School��and�The�Beat�Initiative)

Participants629�people�(including��482�volunteers)�and��18,000�audience�members

of�the�volunteer�participants�said�it�was�the�first�time�they�had�ever�been�involved�in�something�like�it

84%

18� Lifetime�Review�2007–13���

Ophee’s storyProgramme somewhereto_

LocationUK-wide

Funding£4.8m from Legacy Trust UK

Project activity2010–ongoing

Main delivery partnersLivity

Participants7,000 young people and �over 4,000 spaces

Ophee,�17,�from�inner�city�Birmingham,��has�been�involved�with�the�somewhereto_�project�for�two�years.�somewhereto_�is�a�national�programme�that�gives�young�people�the�space�to�do�the�things�they�love,�and�for�Ophee�this�means�football.

Before�taking�part�in�somewhereto_�Ophee�was�often�in�trouble�with�the�police,�and�when�he�was�introduced�to�the�project,�he�was�on�probation�with�an�electronic�tag.�Since�getting�involved�he�has�turned�his�life�around.�He�has�gained�confidence�and�focus,�and�developed�a�sense�of�respect�for�others.�Through�the�project�he�found�a�space�to�play�football,�and�he�received�mentoring�and�support�to�help�him�move�away�from�crime�and�find�a�positive�way�to�spend�his�free�time.

Through�ongoing�dialogue�with�his�probation�officer,�Ophee�was�able�to�use�his�progression�and�involvement�through�the�project�to�gain�extensions�on�his�curfew�to�allow�him�to�coach�and�attend�one-off�somewhereto_�events.

“I’ve�known�Ophee�for�about�a�year�and�during�that�time�I’ve�seen�him�develop.�He’s�been�able�to�be�diverted�away�from�his�previous�lifestyle.�Every�single�change�I�have�seen�has�been�positive.”�PC�Charlotte�Hunt,�Handsworth�West�Police

Ophee�no�longer�has�to�wear�a�tag.�He�hopes�to�start�his�own�football�team�for�youngsters�aged�9–12�and�is�currently�working�towards�a�professional�coaching�qualification.�“You�can�see�that�you’re�impacting�somebody�else’s�life�in�a�good�way,�that’s�the�best�part�about�it.”�

Legacy�Trust�UK�made�a�short�film�about�Ophee�and�his�involvement�in�the�project�which�is�available�on�the�Trust’s�YouTube�page�at�www.youtube.com/legacytrustuk.

� � � �

� � � �� �

“ I’ve known Ophee for about a year and during that time I’ve seen him develop. He’s been able to be diverted away from his previous lifestyle. Every single change I have seen has been positive.”

� �PC�Charlotte�Hunt,��Handsworth�West�Police

OPEN

� Lifetime�Review�2007–13� 19

4,000somewhereto_�opened�up�more�than��4,000�empty�and�underused�spaces�for��young�people�across�the�UK

Marie and Emmie’s story

In�total,�Games�Time�performances�featured�over�1,500�people�from�communities�in�the��East�Midlands

+1,500

20� Lifetime�Review�2007–13���

ProjectGames Time� �

LocationEast Midlands�

Funding£750k from Legacy Trust UK� � � � �with additional support from� � � �Arts Council England and� � � �local authorities�

Project activity2011–12

Main delivery partnerDéda Producing� �

Participants1,500 people from across� � � �Loughborough, Skegness,� �Northampton and Derby� �

Games Time was�part�of�the�Trust’s�Community�Celebrations�strand,�which�supported�high�profile�outdoor�performances�in�four�locations�across�the�UK.�This�East�Midlands�based�spectacular�outdoor�stage�show�combined�music,�dance,�video�and�fireworks�and�well�as�members�of�the�local�community�in�each�location�it�was�performed.�

Emmie�and�Marie�were�community�cast�members�of�the�Games�Time�performance��in�Loughborough.�As�a�direct�result�of�their�participation,�they�were�inspired�to�create�their�own�dance�performance�to�raise�money�for��a�local�hospice,�involving�other�cast�members�from�Games�Time�and�children�from��local�schools.�

This�community�based�project�is�of�particular�importance�to�Marie,�who�gave�up�a�fledgling�career�in�dance�to�care�for�her�children,�who�use�the�hospice�today.�Games�Time�has�given�Marie�the�confidence�and�self-belief�to�enter�the�world�of�dance�again�and�she�has�since�found�employment�teaching�Zumba�for�Loughborough�Council.�Emmie�has�grown�in�confidence�and�now�leads�dance�groups�and�activities�at�her�university,�something�she�would�never�have�considered�doing�before.

“It’s�brought�back�the�dance�in�me,”�says�Marie,�“The�old�me�that�everyone�knows�that�dances�to�anything!”.

“I�feel�really�happy.�Honestly,�I�don’t�think��I’ve�ever�been�so�positive�and�so�busy”��says�Emmie.

Games�Time�has�had�a�very�positive�and�exciting�impact�not�only�on�the�lives�of�Emmie�and�Marie�but�on�the�entire�community.��Their�dedication�to�providing�opportunities��for�others�shows�how�the�legacy�of�Games�Time�will�live�on�and�that�their�own�careers��will�be�improved�and�sustained.

Marie�and�Emmie’s�story�was�captured�on�film�and�can�be�viewed�on�the�Legacy�Trust�UK�YouTube�page�at�www.youtube.com/legacytrustuk

“ I feel really happy. Honestly, I don’t think I’ve ever been so positive and so busy.”

� Emmie

Katy’s storyProjectLuminous�Soul

LocationNorthern�Ireland

Funding£125k�from�Legacy�Trust�UK

Project activity2009�–�present

Main delivery partnerOpen�Arts

Participants352�people�

Katy�is�a�young�woman�from�Belfast�who��has�been�profoundly�blind�since�birth.��She�joined�the�Luminous Soul project�in�2009�which�aimed�to�open�up�opportunities�for�people�with�disabilities�to�be�trained�by�professional�dancers.

Katy�is�a�keen�singer�and�is�part�of�a�community�choir,�but�she�did�not�feel�confident�in�her�dancing�abilities.�Initially�she�was�comfortable�only�doing�floor�work,�where��she�was�less�likely�to�fall�and�able�to�express�herself�without�hesitation,�but�as�the�course�progressed�she�gradually�acquired�the�same�self-assurance�when�standing�on�two�feet.�Luminous�Soul�has�given�Katy�the�opportunity�to�develop�her�dance�skills�and�confidence�as�a�dancer.�She�has�developed�a�better�sense�of�the�space�around�her,�knowing�where�to�move�without�being�guided,�her�all�round�confidence�has�grown�and�by�learning�from�professional�dancers,�her�natural�talent�has�flourished.�

In�June�2012,�as�a�result�of�her�involvement��in�Luminous�Soul�and�her�progression�as��a�dancer,�Katy�returned�to�her�old�school,�Jordanstown�School�for�Children�with�Auditory�and�Visual�Impairments,�as�a�facilitator.�She�was�recognised�by�the�members�of�staff�who�had�taught�her�as�a�child,�was�reunited�with�her�old�music�teacher�who�had�nurtured�her�singing�talent,�but�most�important�of�all,�she�provided�an�excellent�role�model�for�the�young�people�who�share�her�visual�disability.�If�she�can�dance,�so�can�they.�If�she�can�be�one�of�the�people�in�charge�of�a�dance�project,�they�can�too.

Katy�was�featured�in�a�Legacy�Trust�UK�film�which�is�available�on�the�Trust’s�YouTube�page�at�www.youtube.com/legacytrustuk

Katy has developed a better sense of the space around her, knowing where to move without being guided, her all round confidence has grown and by learning from professional dancers

� Lifetime�Review�2007–13� 21

London 2012

22� Lifetime�Review�2007–13�

Although�projects�funded�by�Legacy�Trust�UK�had�been�delivering�activity�since�2008,�London�2012�was�a�huge�focus�for�the�majority�of�projects,�who�wanted�to�harness�the�excitement�of�the�Olympic�and�Paralympic�Games�to�showcase�their�work.�

� Lifetime�Review�2007–13� 23

Events�across�the�UK�created�opportunities�for�people�to�engage�with�London�2012�and�provided�alternative�and�complementary�activities�to�watching�sport.�The�Trust’s�projects�often�offered�something�unique�to�that�particular�part�of�the�UK,�representing�the�local�culture�of�towns�and�cities,�and�the�interests�of�those�residing�there.�This�broadened�the�offer�and�appeal�of�London�2012.�For�many�who�lived�far�from�the�sporting�action�or�could�not�get�tickets�for�official�sporting�events,�cultural�activity�across�the�country�provided�the�means�to�feel�part�of�the�sense�of�excitement�that�swept�the�nation.

The�Trust�created�a�Memorandum�of�Understanding�with�LOCOG�to�ensure�that�the�£34�million�used�to�support�Cultural�Olympiad�and�London�2012�Festival�projects�was�officially�recognised.�The��Trust�worked�closely�with�LOCOG�in�three�main�ways:

�— to�ensure�that�all�projects�were�an�official�part�of�the�Cultural�Olympiad,�were�recognised�and�credited�by�LOCOG,��and�could�use�appropriate�branding

�— to�ensure�the�Trust�was�recognised�and�appropriately�acknowledged�in�LOCOG�marketing�materials�as�a�major�funder�of�the�Cultural�Olympiad�and�London�2012�Festival�through�‘Principal�Funder’�status

�— to�identify�opportunities�to�build�on�project�successes�and�collaborate��on�high�profile�activities�(such�as�the�London�2012�Festival�Opening��Night’s�commission�On�the�Nightshift,�produced�by�Legacy�Trust�UK�project��Lakes Alive).

London 2012 highlightsThe�summer�of�2012�began�with�the�official�launch�of�the�London�2012�Festival�in�June�with�Lakes Alive’s�On�the�Nightshift,�a�spectacular�outdoor�performance�commissioned�by�LOCOG�for�the�opening�of�the�Festival,�and�was�attended�by�over�10,000�people.

The�summer�of�2012�began�with�the�official�launch�of�the�London�2012�Festival�in�June��with�Lakes Alive’s�On�the�Nightshift,�a�spectacular�outdoor�performance�commissioned�by�LOCOG�for�the�opening�of�the�Festival,�and�was�attended�by�over�10,000�people.�The Voyage created�a�huge�ship�installation�next�to�Birmingham�Town�Hall�and�was�the�scene�for�an�outdoor�spectacle�with�dancers�and�aerialists�joining�forces�with�an�amateur�choir�and�more�than�140�community�performers�to�tell�the�story�of�the�ship�and�its�passengers.�Land of Giants took�place�outside�Belfast’s�newly�opened�Titanic�Building�to�a�crowd�of�18,000,�while�Tree of Light,�the�South�East’s�contribution�to�the�Trust’s�Community�Celebrations�strand,�took�over�parks�in�Henley,�Oxford�and�Reading�with�2,000�volunteer�performers�telling�the�story�of�a�mythical�tree�to�an�audience�of�more�than�18,000�people.

In�the�first�week�of�July,�Games Time held�its�first�2012�performance�in�Northampton,�while�Big�Dance�Week�took�over�London�to�get�one�million�people�dancing.�The�award�winning�Cycle Song worked�with�1,473�people�in�Scunthorpe�to�create�a�performance�celebrating�the�life�of�local�unsung�hero�Olympic�cyclist�Lal�White.�In�Wales,�Mzansi Cymru,�a�four�year�project�bringing�together�young�people�from�the�Welsh�Valleys�and��a�township�in�South�Africa,�culminated�in��a�stunning�performance�in�the�Wales��Millennium�Centre.

In�August�the�spectacular�Speed of Light lit�up�Arthur’s�Seat�in�Edinburgh�with�over�3,500�runners�in�bespoke�light�suits�and�hundreds�of�walkers�with�light�staffs�creating�a�moving�piece�of�art�on�the�landscape.�The�theme�of�art�and�the�environment�was�continued�by�Walking�in�the�East�of�England,�taking�place�across�the�North�Norfolk�coastline�as�a�part�walk,�part�theatrical�experience,�punctuated�by�gigantic�architectural�installations.�

As�well�as�high�impact,�large�scale�outdoor�events�during�the�summer�of�2012,�many�of�the�smaller�projects�funded�by�the�Trust�also�ran�showcase�activities�and�events.�In�total�more�than�7,000�different�events�funded�by�the�Trust�took�place�during�Games�time.

As well as high impact, large scale outdoor events during the summer of 2012, many of the smaller projects funded by the Trust also ran showcase activities and events

1,473The�award�winning�Cycle�Song�worked�with�1,473�people�in�Scunthorpe

+18,000Land�of�Giants�took�place�outside�Belfast’s�newly�opened�Titanic�Building�to�a�crowd�of�18,000

� Lifetime�Review�2007–13� 25

Focus on outdoor artsOne�of�the�key�areas�supported�by�Legacy�Trust�UK�in�the�run��up�to�and�during�the�Games�was�outdoor�arts.�

The�Trust�led�the�way�in�supporting�the�sector�to�create�innovative�work�from�the�outset,�and�by�2012,�outdoor�performance�was�a�major�trend�throughout�the�Cultural�Olympiad�and�London�2012�Festival.�

Many�of�our�projects�including�Lakes Alive in�the�North�West�and�our�Community Celebrations strand�created�ambitious,�creative�and�bold�events�that�connected��with�and�actively�engaged�local�communities.�For�us,�it�was�always�important�to�combine�artistic�quality�and�community�participation�in�equal�measures.�Our�outdoor�arts�projects�and�performances�attracted�a�truly�mixed�audience�and�served�up�spectacular�experiences,�from�patterns�of�light�created�by�Speed of Light runners�in�light�suits�across�Arthur’s�Seat�in�Edinburgh,�to�watching�the�Titanic�re-emerge��on�its�own�slipway�in�Belfast�100�years�on��for�Land of Giants,�and�the�spectacle�of�hundreds�of�local�people�being�part�of�Cycle Song,�an�outdoor�community�opera�celebrating�Scunthorpe’s�best�known�Olympian.�But�great�experiences�were�also�found�in�small�intimate�locations�on�Kendal�High�Street�during�MintFest�or�Stanza Stones,�a�walking�trail�across�the�Pennines�dotted�with�short�poems�by�Simon�Armitage�inscribed�in�stones�in�the�landscape.�Most�importantly�though,�outdoor�arts�is�engaging�and�can�make�a�community�really�proud�of�itself�and�what�it�can�achieve,�as�we�saw�with�so�many�of�our�projects��across�the�UK.�

Although�outdoor�arts�are�in�many�cases��short�lived�and�dependent�on�the�weather,��they�offer�easy�access�to�culture,�especially��if�there�is�community�engagement�attached.�They�provide�an�opportunity�to�engage�for��a�large�section�of�society�who�may�not�see�themselves�as�regular�cultural�consumers.��This�is�highlighted�by�Lakes Alive’s�evaluation�which�found�that�up�to�35%�of�attendees�considered�themselves�as�‘new’��to�culture.�Outdoor�arts�can�also�be�a�great�draw�for�tourism,�again�demonstrated�by��Lakes�Alive’s�evaluation�where�over�75%�of�those�visiting�from�outside�Cumbria�stated�that�the�festival�was�the�main�reason�they�had�travelled�to�the�area.�

Legacy�Trust�UK�led�the�way�in�supporting�outdoor�arts�in�the�run�up�to�and�during�London�2012,�with�more�than�£8�million�of��our�total�funding�allocated�to�outdoor�arts�performances�and�activities.

Our outdoor arts projects and performances attracted a truly mixed audience and served up spectacular experiences

+75%Over�75%�of�those�visiting�from�outside�Cumbria�stated�that�the�festival�was�the�main�reason�they�had�travelled��to�the�area

26� Lifetime�Review�2007–13���

Lakes Alive

+50,000Over�50,000��attendees�each�year

� � � � �� � � �

� � � �� � � �� � � � �

� � �

� �

� � �� �

� Lifetime�Review�2007–13� 27

LocationCumbria

Funding£950,000 from Legacy Trust UKwith additional support fromCumbria County Council andArts Council England. From2013 Lakes Alive is supportedby Arts Council England

Project activity2009–ongoing

Main delivery partnersKendal Arts International

ParticipantsOver 50,000 attendees �each year

Lakes�Alive�is�an�annual�street�festival��featuring�a�programme�of�distinctive�street�arts�and�outdoor�events�in�a�range�of�spaces�across�Cumbria.

The�project�launched�in�2009�with�a�small�number�of�performances�and�activities�across�the�county,�and�developed�and�expanded�each�year�to�deliver�ambitious�programmes�of�activity�which�captured�the�imagination�of�locals�and�visitors�alike.

Lakes�Alive’s�ambition�was�to�turn�Cumbria�into�an�internationally�renowned�destination�for�streets�arts�and�performance,�and�succeeded�from�an�early�stage�in�attracting�world�class�acts�as�part�of�its�programme�of�events.

2012�saw�the�culmination�of�the�four�year�programme�which�ran�from�21�June�to�2�September�and�featured�one�of�the�opening�events�of�the�prestigious�London�2012�Festival�On�the�Night�Shift�in�a�spectacle�of�colour,�light�and�sound�in�the�skies�above�Lake�Windermere.

The�project�has�continued�to�attract�and�develop�new�audiences�each�year�for�the�arts.�It�has�engaged�socially�and�economically�disadvantaged�groups�and�people�who�would�not�otherwise�have�access�to�high�quality�arts�and�cultural�experience�due�to�physical�isolation;�engaged�local�families�and�inspired�many�children�who�would�not�otherwise�come�into�contact�with�the�performing�arts.�Lakes�Alive’s�success�can�also�been�seen�in�its�economic�impact�and�its�role�as�a�driver�for�tourism.�It�has�established�the�North�West�as�a�centre�for�excellence�in�street�arts�and�outdoor�performance.�From�a�standing�start,�Lakes�Alive�has�evolved�into�a�world�class�programme�of�national�and�international�significance�and�reach.�In�2012�Lakes�Alive�was�given�Arts�Council�National�Portfolio�Organisation�(NPO)�status,�securing�its�programme�delivery�in�Cumbria�for�2012–15.

Challenges

28� Lifetime�Review�2007–13�

Establishing�a�brand�new�organisation�was�never�going�to�be��an�easy�task,�but�creating�one�with�the�mission�of�leaving�a�lasting�cultural�legacy�from�London�2012,�four�years�before�the�Games�became�a�reality�was�a�real�challenge.�This�section�considers�these�challenges�and�how�the�Trust�overcame�them.

+1mSince�2007�we�have�engaged�over��1�million�children�and�young�people

� Lifetime�Review�2007–13� 29

Setting up the TrustLow�expectations�of�success�among�the�general�public�in�the�months�and�years�leading�up�to�the�Games�was�fuelled�by�media�reports�of�overspend�and�a�general�feeling�that�the�UK�could�not�pull�off�such��a�high�profile�event.

The�Trust�operated�for�six�years�within��this�environment,�but�with�the�certainty��that�funded�projects�across�the�UK�would�be�a�huge�success�and�be�embraced�by�communities�and�the�arts�and�sports�sectors�alike.�With�a�dedicated�and�experienced�team�and�a�supportive�board,�the�Trust�achieved�its�mission��and�more,�developing�over�100�projects�across�the�UK,�which�formed�the�backbone�of�the�Cultural�Olympiad��and�London�2012�Festival.�

The funding modelSetting�up�a�UK-wide�body�that�would�bring�together�investment��from�Big�Lottery�Fund,�Arts�Council�England�and�Government�was��an�ambitious�task�and�although�£40�million�is�a�large�sum�of�money��it�needed�to�deliver�a�wide�range�of�programmes�over�three��to�four�years.

Setting�up�a�UK-wide�body�that�would�bring� To�ensure�we�could�make�the�maximum�impact�together�investment�from�Big�Lottery�Fund,�� with�minimum�overheads�we�decided�to�fund��Arts�Council�England�and�Government�was�an� a�small�number�of�programmes�with�relatively�ambitious�task�and�although�£40�million�is�a� large�grants�so�we�could�remain�a�lean�and�large�sum�of�money�it�needed�to�deliver�a�wide� efficient�organisation.�This�strategy�allowed��range�of�programmes�over�three�to�four�years.� us�to�invest�in�the�programmes�themselves�and�An�effective�funding�model�needed�to�be� build�capacity�in�others�to�run�the�projects.�created,�so�the�Trust�decided�to�seek�strong� Eventually�every�programme�had�a�programme�regional�buy-in�and�partners�from�across�the� team�embedded�within�their�host�organisation�UK,�and�also�break�down�the�traditional�silos� at�a�national�or�regional�level.of�sports,�arts�and�communities�funding�that�had�existed�and�bring�them�all�together.��This�enabled�us�to�develop�an�innovative�and�creative�set�of�programmes�that�could�attract�matched�funding�and�deliver�a�lasting�cultural�and�sporting�legacy�from�London�2012.

To ensure we could make the maximum impact with minimum overheads we decided to fund a small number of programmes with relatively large grants so we could remain a lean and efficient organisation

Short lifespan of the TrustBeing�set�up�in�2007�and�earmarked�for�closure�in�2013�meant�that�we�needed�to�hit�the�ground�running�and�exploit�the�full�potential�of�the�four�year�Cultural�Olympiad�leading�up�to�the�Games�in�2012.

We�had�five�years�to�ensure�we�could�use��this�momentum�to�develop�new�and�exciting�projects�so�that�by�2012,�communities�and�organisations�were�in�a�strong�position�to��build�their�own�lasting�legacy.�

We�were�passionate�that�the�programmes�should�develop�and�innovate�over�this�period,�nurturing�their�partnerships�whilst�still�getting�people�actively�involved�in�their�work.�This�wasn’t�just�about�putting�on�a�show�in�2012,��it�was�about�supporting�people�to�deliver�projects�in�the�years�leading�up�to�the�Games,�building�skills,�creating�fantastic�local�ideas�and�producing�events�and�activities�that�came�from�within�communities�in�which�projects��were�based.�

We�worked�quickly�and�efficiently,�establishing�regional�and�national�teams�which�sat�in�existing�(mainly�arts)�organisations,�working�collaboratively�to�approve�business�plans�and�support�our�teams�at�every�stage�in�the�process�of�setting�up�new,�ambitious�programmes�of�activity�across�the�country.

30� Lifetime�Review�2007–13���

Establishing outreach and not being London-centricFrom�the�start�we�set�out�to�work�across�the�whole�of�the�UK,��reaching�out�extensively�across�the�four�nations.�

This�was�in�part�to�make�sure�that�the�Trust�was�not�London-centric,�but�more�importantly�to�ensure�that�our�funding�and�project�initiatives�reached�out�to�as�many�people�as�possible.�There�are�many�examples�of�where�our�projects�have�worked�with�communities,�both�urban�and�rural,�which�have�not�traditionally�been�locations�for�focused��arts�and�cultural�activity.�It�has�come�with�challenges�such�as�pushing�our�programmes�and�projects�to�reach�out�to�those�that�would�not�normally�engage�or�participate,�but�that�is�what�we�set�out�to�do.�

Looking�back,�we�are�proud�to�say�that�our�vision�was�realised,�and�our�projects�have�worked�with�local�isolated�communities�in�the�Rhonda�Valley�in�Wales,�with�young�people�in�creative�drama�workshops�in�County�Tyrone,�brought�the�Tate�Movie�truck�and�its�creative�workshops�to�Orkney�in�Scotland�and�engaged�young�people�with�Woodhorn�Museum�in�rural�parts�of�the�North�East.��Our�projects�have�also�worked�with�disengaged�young�people�in�inner�city�Birmingham,�brought�dance�workshops�to�some�of�the�most�disadvantaged�boroughs��in�Greater�London,�and�created�engaging�community�festival�events�in�Nottingham.��It�was�essential�for�us�to�be�able�to�say�that�the�London�2012�Games�were�happening��in�the�capital,�but�that�there�were�projects��and�initiatives�on�a�local�level�that�really�connected�communities�to�the�Games��in�a�creative�way.�In�total,�93%�of�our�funding�went�to�projects�outside�of�London.

“ The numbers and demographics of those involved are impressive – they are not the usual suspects – projects have reached new people and new areas.”

� �Paul�Kaynes,�Creative�Programmer,�West�Midlands

Getting our voice heardBack�in�2007,�cynicism�about�the�Games�was�often�a�defining��feature�of�the�way�people�spoke�about�London�2012.�As�such,�ensuring�positive�coverage�of�London�2012�related�programmes�of�work�was�at�times�difficult,�and�convincing�people�to�listen�to�a�funder�talk�about�its�plans�was�challenging�at�best.

For�this�reason,�we�decided�that�the�quality�and�diversity�of�our�projects,�and�how�our�money�had�been�invested�should�do�the�talking.�Working�with�our�partners,�we�sought�to�raise�the�profile�of�individual�projects�in�their�locality�and�promote�them�to�others�that�could�benefit�from�knowing�about�them.�Over�time,�we�built�an�excellent�reputation�for�the�sheer�range�of�our�work,�the�number�of�people�engaged�either�as�audiences�or�volunteers��and�our�support�for�emerging�artists.�

By�the�time�2012�arrived�there�was�a�crowded�market�place�of�organisations�and�stories,��and�it�was�difficult�to�get�community�based�work�profiled,�particularly�outside�London.�Projects�had�worked�hard�to�ensure�that�people�connected�the�work�within�their�locality�and�had�an�appealing�offer.�Local�media�understood�this,�often�promoting�many�of�our�programmes�in�an�intensive�way,�which�was��a�defining�feature�around�work�across�the�Cultural�Olympiad�programme.�

Despite�the�scepticism�in�national�media,�local�and�regional�media�were�convinced�that�this�really�was�offering�local�people�positive�and�inspiring�opportunities.�

When�speaking�with�policy�makers,�we�needed�strong�evidence�to�make�sure�that�they�understood�and�listened.�Therefore�we�ensured�that�we�had�gathered�information,�statistics�and�evaluation�to�allow�us�to�properly�present�our�work.�But�much�more�powerful�were�the�stories�and�case�studies�we�captured�first�hand�from�people�that�took�part�in�our�programmes.�

� Lifetime�Review�2007–13� 31

Ensuring projects were part of London 2012Our�projects�were�central�to�the�success�of�the�Cultural�Olympiad�particularly�across�the�nations�and�regions.

For�large�periods�of�time,�particularly�early�on�in�2008�and�2009,�they�were�the�only�London�2012-related�activity�in�many�areas.�For�that�reason,�over�time,�they�became�clearly�associated�with�the�Games�in�their�locality,�despite�official�London�2012�branding�not�being�rolled�out�to�projects�until�2011.�Many�programmes�worked�closely�with�the�regional�Creative�Programmer�and�became�central�pillars�of�the�Cultural�Olympiad�offer,�such��as�We Play in�North�West�and�imove in�Yorkshire,�or�they�worked�closely�with�the�London�2012�Nations�and�Regions�teams�to�increase�the�offer�of�activities�and�event�in�the�regions.�Igniting Ambition in�the�East�Midlands�and�RELAYS in�the�South�West�were�great�examples�of�this�partnership.

We�continued�throughout�to�work�hard�to�ensure�that�work�was�recognised�by�the�Olympic�and�Paralympic�family.�When�the�official�Cultural�Olympiad�branding�arrived�in�2011,�it�allowed�our�funding�and�programmes�to�be�fully�recognised�for�their�role�in�creating�an�offer�that�really�did�involve�the�whole�of��the�UK.

93%In�total,�93%�of�our�funding�went�to�projects�outside��of�London

Post Games 2012–13Although�the�success�of�our�projects�in�the�lead�up�to�and�during��the�Games�was�a�cause�for�celebration,�we�wanted�to�ensure�that��in�the�year�following�London�2012�we�were�doing�our�best�to�strengthen�the�legacy�of�our�work�despite�our�funding�of�many��projects�having�ended.

As�well�as�funding�six�Transition�projects��(see�page�11)�in�summer�2013�we�announced�funding�for�an�ongoing�Cultural Enquiry led�by�the�Cultural�Institute�at�Kings�College�London.�The�Enquiry�is�steered�by�a�panel�of�leaders�from�across�the�public�and�private�sectors�to�review�existing�research,�hear�evidence�and�take�views�from�people�involved�in�planning,�funding�and�managing�arts�and�cultural�programmes,�as�well�as�from�major�event�organisers,�policy�makers�and�community�representatives.�This�will�ensure��that�the�knowledge�gained�by�event�organisers,�communities,�funders�and�the�cultural�sector�as�a�result�of�London�2012�is�harnessed�in�order�to�strengthen�future�bids�and�to�save�valuable�time�and�money�in�organising�integrated�cultural�programmes��for�future�major�events�in�the�UK.

The�Trust�published�an�independent�evaluation�of�our�work�in�April�2013�and�shared�it�with�other�funders�and�policymakers�to�ensure�that�others�could�learn�from�the�insight�into�our�unique�role�in�creating�a�cultural�legacy�from�London�2012.�It�offers��a�unique�insight�into�a�six�year�programme��of�work�across�the�UK�and�draws�together�individual�programme�evaluations.�

We�also�commissioned�research�agency�Nielsen�to�undertake�a�series�of�surveys��of�over�2,000�people�across�the�UK�to�gauge�public�attitudes�towards�London�2012�at�six�months�and�one�year�after�the�Games.��The�findings�illustrated�a�positive�shift�in�attitudes,�for�example:

�— 60%�of�respondents�believe�there�will�be�a�positive,�lasting�legacy�from�the�Games�

�— 75%�felt�that�young�people�were�inspired�by�the�Games

�— And�interestingly,�25%�felt�they�would�be�more�open�to�volunteering�as�result��of�the�Games.�

This�research�will�be�used�to�inform�future�programmes�around�major�events�in�the�UK.

84%

The Trust published an independent evaluation of our work in April 2013 and shared it with other funders and policymakers to ensure that others could learn from the insight into our unique role in creating a cultural legacy from London 2012

60%60%�of�respondents��believe�there�will��be�a�positive,��lasting�legacy��from�the�Games

84%�thought�that�London�2012�had�made�a�positive�difference�to�the�UK

32� Lifetime�Review�2007–13

Finally,�we�also�commissioned�a�major�study��of�young�people�and�their�attitudes�to�London�2012.�Once�the�excitement�of�the�Games�had�worn�off,�we�noticed�that�there�was�increasing�conjecture�in�the�media�and�within�the�sector�about�the�legacy�from�the�Games,�and�in�particular,�whether�it�had�an�impact�on�young�people.�We�decided�to�commission�research�to�find�out�exactly�how�young�people�felt�about�London�2012�six�months�on.

The�results,�from�an�online�survey�of�over�1,000�young�people�across�the�UK,�as�well�as�a�number�of�focus�groups�across�the�country,�were�overwhelmingly�positive:

�— 84%�thought�that�London�2012�had�made�a�positive�difference�to�the�UK

�— 70%�were�inspired�by�Paralympic�athletes

�— 61%�agreed�that�the�Games�had�transformed�the�lives�of�young�people.�

Of�those�who�were�involved�in�the�Games�in�some�way,�such�as�by�volunteering,�or�through�one�of�the�hundreds�of�projects�which�took�place�across�the�country,

�— 73%�have�gone�on�to�participate�in�another�project�as�a�result�of�their�involvement.

We�held�our�final�major�event,�Have We Inspired A Generation?�in�April�2013�to�launch�our�findings�and�spark�a�debate�around�how�young�people�can�engage�in��a�meaningful�way�with�cultural�activity�in��their�area,�and�to�discuss�the�importance�of�empowering�young�people�to�take�the�lead��in�creating�and�commission�work.�Hosted�by�Olympian�Jonathan�Edwards�CBE,�the�panel�comprised�Legacy�Trust�UK’s�Chief�Executive�Moira�Swinbank�OBE;�Paralympian�Baroness�Grey-Thompson;�RSA�Chief�Executive�Matthew�Taylor;�Steve�Moffitt,�Chief�Executive�of�A�New�Direction�and�17�year�old�Matilda�Neill�who�participated�in�the�Trust’s�NE-Generation�programme�and�represented�the�views�of�her�peers�on�the�panel.

Full�research�findings�and�report�from��Have�We�Inspired�A�Generation?�and��our�final�evaluation�report�can�be�found��on�Legacy�Trust�UK’s�website�at��www.legacytrustuk.org/publications.

London 2012:Have We Inspired A Generation?Research Highlights

#generation2012

� Lifetime�Review�2007–13� 33

Section 2 Financials

34� Lifetime�Review�2007–13�

� Lifetime�Review�2007–13� 35

Finance introductionLegacy�Trust�UK�was�set�up�with�an�endowment�of�£40�million��in�2007,�with�an�aim�to�double�the�value�during�the�lifetime�of�the�organisation.�Robust�financial�management�played�a�key�role�in�achieving�this�and�ensuring�that�the�Trust�achieved�maximum�return��on�investment�in�a�difficult�period�in�the�UK’s�financial�history.

The�creation�and�launch�of�the�Trust�coincided�with�the�global�financial�crisis.�Despite�the�turmoil�in�the�financial�markets,�and�the�uncertainty�over�the�political�and�regulatory�reaction,�our�Trustees�appointed�Barclays�Wealth�as�Investment�Manager�and�Adviser,��with�the�belief�that�there�were�sufficient�opportunities�still�available�to�maximise�the�organisation’s�endowment.

This�belief�was�realised,�and�through�diligent�management�of�the�original�endowed�fund��of�£40�million,�we�realised�a�total�return�of�£6.1�million�representing�an�overall�return�across�the�lifetime�of�the�charity�of�15.25%�against�a�FTSE�100�market�decline�during��the�same�period�of�3.37%.

There�were�two�key�principles�that�our��Trustees�looked�for�in�the�way�it�managed��this�performance.�

The�Board�appointed�members�to�a�Finance�and�Investment�Committee�to�concentrate��on�overseeing�the�investment�performance��and�cash�management,�ensuring�that�sufficient�time�and�expertise�was�dedicated�to�this�crucial�work.�

Secondly,�the�attitude�to�risk�was�very�clear�from�the�outset;�none�of�the�original�funds�should�be�placed�at�risk.�This�did�not�mean��a�lack�of�appetite�for�investment�products�that�gave�above�market�returns,�merely�that�the�original�capital�had�to�be�guaranteed.�

Various�structured�products�were�identified,�such�as�taking�a�fix�on�the�FTSE�and�seeing�above�market�returns�should�the�market�hit�certain�trigger�points.�In�effect,�the�very�market�volatility�and�in�particular�the�drop�in�the�indices�allowed�us�to�take�fixes�at�low�levels��in�a�market�where�they�would�recover�and�thereby�trigger�greater�returns�than��that�guaranteed.

At�the�same�time�great�emphasis�was�placed�upon�the�accuracy�of�the�cash�management�profile�so�that�money�that�could�not�be�invested�for�the�longer�term�could�nonetheless�be�placed�in�higher�interest�bearing�accounts,�often�with�six,�nine�or�12�month�notice�periods.�The�market�environment�and�backdrop��was�again�an�opportunity,�in�that�financial�institutions�were�very�keen�to�lay�their�hands��on�more�cash�to�help�them�in�their�debt�rebalancing�obligations�that�were�a�contingent�part�of�Government�and�Central�Bank�intervention.�They�needed�cash�and�were�prepared�to�offer�attractive�rates�for�the�medium�term�investor.

The�irony�of�this�of�course�is�that�as�the�markets�began�to�recover�and�the�general�turmoil�reduced,�banks�no�longer�had�a�thirst�for�cash.�As�such�interest�offerings�reduced�and�then�became�paltry.�Equally�products�with�market�upside�opportunity�began�to�disappear�and��so�any�charity�similar�to�Legacy�Trust�UK�starting�out�in�2013,�will�find�the�investment�market�a�much�different�place�in�which�to�participate.

Nonetheless�market�timing�is�only�an�opportunity�if�one�is�ready�and�willing��to�accept�the�challenge�and�our�Trustees��have�demonstrated�that�when�diligence�and�determination�are�combined�with�good�advice�and�sound�logic,�upsides�can�be�found.�

15.25%We�realised�a�total�investment�return�of�15.25%�against�a�FTSE�100�market�decline�during�the�same�period�of�3.37%

36� Lifetime�Review�2007–13���

Income and expenditure2007–13

2007–13 (£)

Income 46,347,653

Investment�income 5,025,458

Grants�received 41,285,000

Other�income 37,195

Expenditure 45,907,861

Nations and Regions 23,944,490

Northern�Ireland 1,317,449Scotland 2,339,887Wales 1,673,846East�of�England 1,524,739East�Midlands 1,630,000London 2,908,450North�East 1,527,131North�West 3,001,024South�East 1,930,459South�West 1,629,825

West�Midlands 2,209,030Yorkshire 2,252,650

National programmes 18,872,334

UK�School�Games 7,500,000somewhereto_ 4,843,917Tate�Movie 2,861,885Community�Celebrations 3,047,973Transitions�funding 618,559

Contribution to operating cost of Cultural Olympiad

100,000

Support and governance costs

2,991,037

By year (£)

2007/08Nations�and�Regions 240,000National�programmes 6,000,000Contribution�to�operating�cost�of�Cultural�Olympiad�

Support�and��governance�costs

442,861

2008/09Nations�and�Regions 413,932National�programmes 922,244Contribution�to�operating�cost�of�Cultural�Olympiad�

Support�and��governance�costs

425,508

2009/10Nations�and�Regions 3,058,948National�programmes 345,929Contribution�to�operating�cost�of�Cultural�Olympiad�

Support�and��governance�costs

471,551

2010/11

Nations�and�Regions 6,107,104

National�programmes 4,480,772

Contribution�to�operating�cost�of�Cultural�Olympiad�

100,000

Support�and��governance�costs

488,495

2011/12Nations�and�Regions 7,213,572National�programmes 4,251,691Contribution�to�operating�cost�of�Cultural�Olympiad�

Support�and��governance�costs

516,967

2012/13Nations�and�Regions 6,910,933National�programmes 2,871,698Contribution�to�operating�cost�of�Cultural�Olympiad�

Support�and��governance�costs

645,656

Total expenditure (%)

Expenditure by year (%)

2007/08

2009/10

2008/09

2010/11

2011/12

2012/13

2007–13

� Lifetime�Review�2007–13� 37

Key�Nations�and�Regions�National�programmes��Contribution�to�operating�cost�of�Cultural�Olympiad�Support�and�governance�costs

Section 3 Learning opportunities

38� Lifetime�Review�2007–13�

Legacy�Trust�UK�has�had�enormous�success�with�its�funded�programmes�but�has�also�encountered�many�challenges�on�the�road�to�London�2012.�Our�role�was�a�unique�one,�and�by�being�instrumental�in�creating�engaging�cultural�and�community�projects�linked�to�an�international�mega-event,�we�want�to�share�this�knowledge�with�future�major�events,�especially�in�terms�of�engaging�communities�and�creating�lasting�cross-sector�partnerships�to�deliver�impactful�activity.�In�this�section�we�outline�the�key�areas�we�have�championed�and�what�we�have�learned.�

� Lifetime�Review�2007–13� 39

Cross sector partnershipsIt�is�often�said�that�the�arts�sector�could�be�better�at�working�in�partnership,�but�in�the�last�five�years�we�have�seen�hundreds�of�excellent�examples�of�partnerships�led�by�our�projects.�

In�mapping�our�funding�and�what�we�wanted�to�achieve,�the�Trust�used�the�opportunity�offered�by�London�2012�to�challenge�organisations�to�work�across�the�silos�that�traditionally�kept�them�apart.�Whether�it�was�public�or�private,�sports�or�arts,�health�or�heritage,�we�wanted�organisations�to�join�forces�to�create�better�outcomes�for�communities�across�the�UK.�

At�a�national�level,�we�wanted�partnerships�that�would�deliver�exciting�and�inspirational�projects�with�our�funding.�As�well�as�creating�excellent�work,�we�looked�for�collaboration�that�could�capture�the�attention�of�communities�around�the�UK.�Tate Movie is�a�perfect�example�of�an�inspiring�partnership�of�this�kind.�Bringing�together�Tate,�CBBC�and�Aardman�Animations,�as�well�as�galleries,�local�authorities�and�schools�across�the�UK,��the�project�involved�over�35,000�children�and�resulted�in�a�20�minute,�Children’s�BAFTA�winning�animated�film�which�was�screened��on�the�BBC�and�in�Vue�cinemas�nationwide.�

In�the�nations�and�regions,�we�allocated�money�geographically�and�challenged�partners�from�across�sectors�to�come�together�to�create�a�new�offer.�To�avoid�placing�local�partners�into�competition,�we�encouraged�competing�bids�to�communicate�with�one�another�and,�where�possible,�work�together.�Igniting Ambition started�by�delivering�three�annual�county�by�county�programmes�leading�up�to�a�region-wide�celebration�in�2012,�drawing�together�major�agencies�from�across�sports,�heritage,�arts,�health,�local�authorities�and�private�businesses.�Reflecting�the�diversity�of�the�programme,�it�was�successful�in�leveraging�a�wide�range�of�co-sponsors�and�funders�including�some�international�foundations.�

In�the�South�East,�Accentuate�brought�together�local�authorities,�the�regional�tourist�board,�local�arts,�sports�and�heritage�organisations,�and�disability�groups�to�create�an�ambitious�and�far�reaching�programme��of�activities�which�challenged�perceptions�of�disability.�Accentuate�created�a�brokering�role�across�mainstream�and�disability�sectors�to�promote�talent�and�provide�opportunities�for�disabled�people�to�thrive,�alongside�instilling�confidence�in�organisations�who�had�not�worked�with�disabled�people�before.

The�vision�of�the�Accentuate�programme�was�to�use�cross�sector�partnerships�to�bring�about�change�that�had�not�been�seen�before,�whether�this�was�adding�value�to�national�programmes�or�working�at�a�more�local�level,�garnering�learning�which�would�then�have�the�potential�to�bring�about�national�change.�Disability�Sports�and�Arts�organisations�had�historically�tended�to�operate�in�isolation,�but�Accentuate�in�the�lead�up�to�the�Paralympic�Games,�brought�together�these�sectors�to�encourage�learning�and�share�the�best�in�working�methodologies.�

Accentuate’s key benefits of a cross sector approach:

�— sharing�best�practice�working�methodologies�across�sectors�and�organisations,�learning�from�each�other’s�approach

�— deepening�understanding�of�different�working�practices�between�people�and�organisations

�— utilising�innovative�and�creative�tools�to�increase�skills�and�knowledge�in�people�and�across�organisations

�— creating�opportunities�for�people�to��work�with�partners�they�may�not�usually�work�with�to�bring�about�exciting�new�approaches�to�disability�within�the��cultural�sector.

40� Lifetime�Review�2007–13���

“ Legacy Trust UK has facilitated partnerships between sports, arts and cultural agencies that would otherwise not have found common ground to work together.”

� Peter�Colling,�Tourism�South�East

The importance of being a Supportive FunderFrom�the�outset,�we�have�described�ourselves�as�a�Supportive�Funder.�

This�meant�that�we�were�there�from�the�very�early�stages�of�development�of�programmes;�before�money�had�even�been�awarded�and�then�throughout�programme�delivery�ranging�from�eighteen�months�to�four�years.�We�supported�risk�taking�and�innovation;�encouraged�partnerships;�had�ongoing�active�engagement�with�our�programmes�and�had�effective�management�processes�in�place.�

For�us,�it�was�important�that�our�programmes�spanned�arts,�culture�and�education�and�we�supported�them�to�develop�lasting�partnerships�across�these�sectors.�Another�of�our�roles�was�to�be�a�critical�but�supportive�friend�and�be�accessible�to�all�programme�teams�and�provide�them�with�proactive�support,�as�well��as�having�management�processes�in�place�that�were�effective�but�at�the�same�time�flexible�with�a�focus�on�outcomes,�backed�up�by�a�strong�guiding�hand.

By�allowing�our�funded�programmes�to�develop�and�change�over�time,�submitting�changed�and�re-focused�plans�and�cash�flows�due�to�budget�cuts�or�partnership�developments,�we�guaranteed�that�they�were�as�successful��as�possible.�Together,�we�built�trust�with�our�delivery�partners�and�created�an�open�dialogue�and�relationship.�This,�in�turn,�ensured�that�the�legacies�left�behind�were�strong,�with�the�vast�majority�of�our�programmes�running�over�three�to�four�years�and�many�continuing�after�our�funding�had�ended.�

“The�level�of�funding�and�the�flexibility�and�support�to�develop�the�project�in�new�ways�as�it�evolved�enabled�us�to�take�creative�risks�and�be�bold,�imaginative�and�ambitious,�in�ways�arts�organisations�seldom�can�be”.�Project�Manager,�hr1,�West�Midlands

“ The level of funding and the flexibility and support to develop the project in new ways as it evolved enabled us to take creative risks and be bold, imaginative and ambitious, in ways arts organisations seldom can be.”

� �Project�Manager,�hr1,��West�Midlands

Engaging people with disabilities requires a specific focusWe�did�not�prescribe�that�any�programmes�should�work�with�particular�groups�of�people.�Many�programmes�did�however�seek�to�work�with�people�with�disabilities.�For�some,�this�was�an�element�of�work�such�Whose Flame is it Anyway?�in�the�Wales�programme,�Power of the Flame.�However,�Accentuate in�the�South�East�decided�to�focus�on�creating�a�shift�in�attitudes�to�disability�and�each�of�the�15�projects�which�made�up�the�overarching�programme�worked�with�people�with�a�disability.�

We�have�seen�from�the�monitoring�data�that�where�there�was�a�lack�of�specific�focus�of�working�with�disabled�people�within�a�programme,�the�number�of�disabled�people�engaged�in�the�work�dropped�significantly�when�compared�with�the�national�population�percentage.�When�there�was�a�focus,�the�number�far�exceeded�this�percentage.�

People�would�argue�that�work�with�disabled�people�should�not�be�separated�out�or�detached�from�mainstream�work.�We�would�agree.�But�we�would�also�say�that�sometimes�focused�work�is�required,�that�programmes�could�be�more�considerate�of�how�disabled�people�are�involved�or�specific�projects�designed�where�there�are�particular�barriers�to�involvement�to�be�overcome.�Working�toward�a�comprehensive�approach�is�the��aim�but�ensuring�resources�are�available��to�meet�the�needs�of�all�potential�participants�is�important.�

“I�think�it’s�almost�unheard�of�for�the�entire�Cultural�Sector�to�work�together�on�one�initiative.�I�think�that’s�the�power�of�2012�in�some�ways.”�Alison�Walsh�Disability�Director�Channel�4

“ I think it’s almost unheard of for the entire Cultural Sector to work together on one initiative. I think that’s the power of 2012 in some ways.”

� �Alison�Walsh,��Disability�Director�Channel�4

� Lifetime�Review�2007–13� 41

SustainabilityBuilding�strong�and�active�partnership�teams�around��a�project�had�a�substantial�impact�on�success.

Despite�the�challenges�of�austerity,�all�of�our�programme�teams�maintained�their�body�of�work�and�absorbed�any�cuts�in�public�funding�or�private�investment�to�ensure�their�projects�were�delivered.�This�pragmatic�adaptability�to�the�financial�climate�has�enabled�many�of�our�projects�to�go�on�to�create�new�work�that�will�take�forward�the�legacy.�

But�it�is�not�just�money�and�fundraising�that�create�sustainability.�Building�strong�partnerships�from�the�outset�meant�that�successful�projects�could�be�positioned�for��the�future�and�that�support,�financially�and�otherwise,�could�be�put�in�place�for�when�the�Trust’s�funding�ended.�By�supporting�projects�from�2008�onwards,�we�ensured�that�work�could�be�embedded�in�communities�and�demonstrate�success�from�an�early�stage,��so�that�when�London�2012�arrived,�many�projects�were�already�hugely�successful�in�their�own�right�and�accepted�as�an�important�part�of�the�local�or�regional�arts�calendar.�Our�Legacy�Standard,�which�was�developed�in��the�early�days�of�the�Trust,�helped�us�and�our�programmes�focus�on�what�was�important�in�supporting�the�creation�of�a�lasting�legacy.��We�have�updated�the�Legacy�Standard�to�reflect�our�learning�over�the�course�of�the�last�five�years,�and�it�can�be�found�in�our�final�evaluation�report�on�our�website.�

There�are�many�examples�across�our�programmes�of�sustained�work,�including:�

�— Runs on the Board and�the�Grey Fox Trophy have�established�an�over�50s�cricket�competition�with�an�arts�twist,�which�has�now�become�an�annual�fixture�in�Yorkshire�

�— Community Games continues�to�grow�from�a�West�Midlands�initiative�to�an�England-wide�project�as�a�result�of�a�grant�from�the�Government’s�Social�Action�Fund

�— Accentuate�has�secured�a�partnership�with�English�Heritage�to�develop�ways�of�supporting�disabled�people�to�more�easily�access�and�visit�heritage�sites�

�— CADW�and�Arts�Council�Wales�have�committed�to�work�on�the�legacy�of�the�Cauldrons and Furnaces project�to�look�at�how�Welsh�heritage�sites�can�be�used�for�arts�and�sports�activity.

42� Lifetime�Review�2007–13���

Give young people a chance to take the leadNot�only�did�young�people�bring�energy�and�enthusiasm�to�our�projects,�they�also�brought�leadership.

By�putting�young�people�in�the�driving�seat,�our�programmes�were�able�to�reach�a�younger�demographic�whilst�investing�in�them�directly�in�terms�of�skills�and�experience.�

NE-Generation�offered�an�interesting�challenge�to�the�youth�and�cultural�sectors:��to�work�in�partnership�to�broaden�the�offer�and�appeal�of�cultural�projects�in�the�North�East��to�young�people.�NE-Generation�developed��a�model�of�co-production�which�saw�young�people�take�a�central�role�in�shaping�a�regional�cultural�programme,�allocating��over�£1�million�of�funding�and�commissioning��15�new�projects�which�directly�benefitted��over�17,000�young�people.�It�also�helped�young�people�to�manage�and�own�the�work�themselves,�building�confidence�and�skills�for�the�future.�Many�other�projects,�like�Blaze in�the�North�West�which�published�a�“cookbook”�to�show�some�of�the�recipes�that�can�help�turn�young�people�into�cultural�producers�and�leaders.�Apprentice Producers in�Yorkshire,�have�demonstrated�that�if�you�give�young�people�positive�experiences�and�allow�them�to�lead,�then�they�will�flourish.�

We�were�pleased�to�see�that�this�approach�was�supported�by�research�that�we�commissioned�Nielsen�to�undertake�in�early�2013.�We�spoke�to�over�1,000�young�people�from�across�the�UK,�through�an�independent�survey,�to�discover�their�views�on�the�London�2012�Olympic�and�Paralympic�Games.�Of�those�that�were�involved�in�an�activity�related�to�the�Games,�73%�said�they�would�be�willing�to�volunteer�for�a�sport,�arts�or�community�group�as�a�result�of�their�experience.�Going�further,�more�than�half�expressed�a�desire�to�create�their�own�sports�or�cultural�group,�demonstrating�that�the�experience�inspired�them�to�want�to�take�the�lead.�

“ Young people are now recognised as more equal collaborators and there is a responsibility for organisations and professionals to continue to embrace the contribution they have to make to the ongoing development of high quality cultural activity.”

� Anna�Spencer,�NE-Generation

NE-Generation’s guide to how to best involve young people�— Conversation –�Make�space�for�dialogue�to�develop�strong�working�relationships�based�on�mutual�understanding�between�young�people�and�other�partners.�

Allowing time within the development of the two phases of NE-Generation commissioning greatly enriched the collective understanding of the quality and criteria for selection. The involvement of all parties in developing the application/interview process and the measures for assessment of submitted applications enabled ownership and a clear commitment to an agreed set of values. This allowed for a more constructive space in which young people and strategic arts and culture professionals could discuss their differences of opinion and deepen their respective awareness of each other’s priorities.

�— Respect�–�Welcome�young�people�as�equals,�recognise�the�expertise��of�each�individual�involved�and�the��unique�contribution�and�perspective��that�young�people�have�to�offer�in�collaborative�processes.

Through the development of the Young People’s Charter for Arts and Culture, each voice was equally valued. There were strong opinions and views from both young people and professional practitioners which at times were in conflict, but the process of reconciling the different experiences and expertise enabled a more meaningful and universal end result for the good practice guide, incorporating the views of different parties.

�— Equip and support�–�Offer�appropriate�training�and�mentoring�for�young�people�to�enable�them�to�meaningfully�contribute,�this�includes�developing�sector�knowledge�and�specific�skills�to�improve�their�understanding�and�ability�to�engage.

�— Action –�Commit�to�young�people’s�involvement�going�beyond�words,�ensure�conversations�have�a�tangible�response�which�value�young�people’s�contributions�and�allow�them�to�take�responsibility�for�implementing�ideas.

Allowing young people to take the lead in the project management process within NE-Generation was a pivotal part of them feeling valued by the cultural sector. This was seen throughout the funded projects, but perhaps most clearly in the collective showcase when young people curated a weekend festival of activities celebrating the creativity of young people across the North East. For three days, a derelict builders’ yard and warehouse space were filled with performances and installations all created and curated by young people.

� Lifetime�Review�2007–13� 43

A lasting difference for individualsA�lasting�difference�to�individuals�was�a�key�feature�of�the�work��we�supported,�which�was�embedded�across�all�the�programmes��we�funded.

Each�of�our�projects�brought�people�together� “ The event has given me and�created�involvement�in�community� great appreciation of the networks�as�well�as�increasing�community�pride�and�sense�of�place.�For�many,�their� talent of local people and experience�led�to�the�development�of�new�skills� encouraged me to feel that and�for�some,�to�employment.�All�of�the�benefits� we in Northern Ireland were�linked�to�the�idea�that�activities�should�provide�a�high�quality�experience�for�everyone� have to create a new involved�–�staff,�participants�and�audiences.� common history.”Each�programme�involved�volunteers,�creating� � Participant,�Land�of�Giants49,000�volunteering�opportunities�across�the�UK�that�not�only�developed�individuals�but�had�a�lasting�difference�for�organisations�in�broadening�and�diversifying�their�volunteer�base.�Communities�have�been�strengthened��by�the�development�of�new�organisations�too,�and�focused�programmes,�whether�on�disabled�people�or�young�people,�created�opportunities�for�organisations�to�be�better��at�involving�these�groups.�

+49,000Each programme involved� � �volunteers, creating 49,000� � �volunteering opportunities� �across the UK� �

Involve the whole of the UKWe�were�clear�when�establishing�the�Trust�that�our�mission�would�allow�communities�across�the�UK�to�identify�and�develop�work��to�celebrate�the�London�2012�Games�in�a�way�that�best�suited�them.�By�inviting�the�nations�and�regions�to�put�forward�their�proposals�on�what�would�work�at�a�local�level,�we�were�able�to�allow�good�ideas�to�be�developed�rather�than�imposed.�This�enabled�us�to�ensure�the�buy�in�of�organisations�and,�more�importantly,�reflect�the�outlook�of�people�in�those�areas.�It�allowed�us�to�create�work�that�reflected�the�unique�culture,�heritage�and�opportunities�available�in�a�community�but�at�the�same�time�connect�to�a�unifying�event�across�the�country.�With�over�1.6�million�participants�across�the�UK,��we�think�we�have�achieved�this.

Alongside�these�regionally�unique�programmes,�we�funded�four�major�programmes�that�brought�the�nation�together�and�inspired�people�to�get�involved�and�do�something�different,�connecting�activity�around�the�UK�to�contribute�to�something�much�bigger.�

Our�Community Celebrations programme�set�out�to�ensure�that�other�parts�of�the�UK,�outside�London,�could�create�landmark�outdoor�cultural�events�that�would�attract�large�audiences�around�the�time�of�the�Games.�Land�of�Giants�(Northern�Ireland),�Speed of Light (Scotland),�Games Time (East�Midlands)�and�Tree of Light (South�East)�certainly�delivered�these�memorable�moments.�

somewhereto_�supported�young�people�across�the�UK�to�find�the�space�to�do�the�things�they�were�passionate�about.�It�was�a�simple�idea�that�appealed�and�worked�across�the�country,�supporting�young�people�and�opening�up�empty�spaces,�of�whatever�kind,�to�be�brought�back�into�use�by�young�people�exploring�their�cultural�and�artistic�ambitions.�

44� Lifetime�Review�2007–13�

� Lifetime�Review�2007–13� 45

Securing matched funding in a recessionWhen�Legacy�Trusk�UK�was�set�up�in�2007,�the�Trustees�stated�their�ambition�to�double�the�Trust’s�endowment�of�£40�million�with�matched�funding.�However�the�Trust�made�this�announcement�just�before�the�global�recession�hit�the�UK,�and�fundamentally�impacted�on�local,�regional�and�national�agencies�and�organisations�that�were�all�stakeholders�and�financial�supporters�of�our�programmes.

The�comprehensive�spending�review�in�2010�and�abolition�of�the�Regional�Development�Agencies�impacted�on�many�of�our�regional�programmes�in�England,�as�did�the�30%�cut�to�Arts�Council�England�and�its�funding.�However,�against�the�odds,�our�programmes�raised�£55.6�million�in�matched�funding�over�the�five�year�period.�

Despite�the�recession,�there�was�still�huge�support�for�great�projects�that�could�demonstrate�real�community�engagement,�creativity,�value�for�money�and�economic�impact.�This�was�even�more�marked�by�the�fact�that�support�was�going�to�new�initiatives�with�no�proven�track�record,�and�that�the�majority�of�funding�(85%)�was�in�cash�rather�than�in-kind�contributions.

WE PLAY matched funding and legacy strategyWE PLAY started�out�with�the�objective�of�creating�a�sustainable�funding�model�for��the�North�West’s�cultural�legacy�programme�for�London�2012,�even�before�work�was�selected�for�inclusion�in�the�Cultural�Olympiad.�The�vision�for�WE�PLAY�was�defined�by�the�North�West�Steering�Group�to�deliver�a�programme�which�would�exist�beyond�London�2012�and�become�part�of�the�North�West�cultural�landscape.

The�programme�identified�three�individual�projects�–�Abandon Normal Devices, Lakes Alive�and�Blaze –�giving�them�each�a�funding�commitment�across�the�four�year�period.�This�approach�enabled�the�teams�behind�these�projects�to�have�complete�ownership�of�all�aspects�of�their�work�and�to�build�up�the�associated�relationships�and�partnerships�relevant�to�their�art�form,�location�or�sector�across�a�significant�time�period.�Each�of�the�three�projects�had�different�models�of�working,�and�delivering�their�fundraising�strategies,�which�ensured�that�the�partnerships�they�created�were�absolutely�relevant�to�them�and�could�last�beyond�the�life�of�WE�PLAY.�

In�the�current�era�of�falling�budgets�and�constrained�spending,�it�was�even�more��vital�that�the�ownership�of�these�funding�relationships�lay�with�the�individual�teams,��and�that�they�had�the�history,�knowledge��and�skills�in�their�own�hands,�not�in�the�hands�of�a�departing�2012�team.

This�model�of�funding�has�resulted�in�three�established�and�independent�projects�at�the�end�of�the�2012,�all�with�loyal�audiences,�partners�and�friends.�Each�was�successful�in�attracting�considerable�matched�funding�from�their�initial�Legacy�Trust�UK�grant,�collectively�securing�over�£6.8�million�over�four�years.

All�three�projects�are�continuing�beyond�2013,�having�established�a�place�for�themselves�within�the�North�West�cultural�ecology,�and�continue�to�demonstrate�the�legacy�of�London�2012�in�the�North�West�region�well�beyond�the�period�of�the�Games.�

The last wordWe�believe�we�created�a�hugely�successful�programme�of�activity��across�the�UK�in�the�run�up�to�and�during�the�London�2012�Olympic��and�Paralympic�Games,�but�of�course,�this�was�not�without�its�challenges.�

We�have�worked�with�communities,�practitioners,�arts,�sports�and�educational�organisations�across�the�UK,�local�authorities,�corporates,�funders,�sponsors�and�more.�

Creating�a�UK-wide�programme�of�activity�to�celebrate�the�Games�was�a�once�in�a�lifetime�experience�for�us�all,�but�we�now�hope�that�future�major�event�organisers�will�use�what�we�have�learnt�to�create�dynamic,�cohesive�and�engaging�cultural�activity�to�connect�local�communities�with�major�activities�taking�place�in�their�area.�

This�ethos�will�help�to�drive�forward�what�we�were�set�up�to�start:�creating�and�developing�the�legacy�of�community�engagement�from�London�2012�across�the�UK.

46� Lifetime�Review�2007–13

AcknowledgementsEach�of�the�following�people�played�a�key�role�in�the�Legacy�Trust�UK’s�story.�We�apologise�if�we�have�inadvertently�omitted�anyone�from�this�list.

TrusteesDugald�Mackie�(chair)Zenna�Atkins�(2007–10)Dame�Jocelyn�BarrowPaul�Cuttill�OBEHoward�DawberJudith�Donovan�CBEStuart�Fraser�CBE�(2007–10)Anupam�GanguliTimothy�Hornsby�CBESusan�Johnson�OBEClive�Jones�CBENicola�Mendelsohn�(2007–08)�Bill�Morris�LVO�(2008–11)Esther�O’Callaghan�(2007–10)Novlette�Rennie�(2007–10)Anna�Southall�OBE�(2007–10)

StaffMoira�Swinbank�Chief�ExecutivePhil�Chamberlain��Director�of�External�RelationsJessica�Collings�Marketing�and��Communications�AssistantWendy�Goulbourne�Office�ManagerUlrika�Hogberg�Director�of�ProgrammesGregg�Hutchings�Director�of�Policy�and�PartnershipsMichael�Kyriakides�Head�of�FinanceJulie�Morrow�Director�of�CommunicationsDavid�Roberson�Marketing�and�Press�Intern

Programme teams

Northern IrelandMarian�Clark�de�MonrealChair:�Lorraine�McDowell

ScotlandJaine�LumsdenChair:�Iain�Munro

WalesJoJo�TyhurstDiane�HebbChair:�Dai�Williams

East of EnglandCaroline�LawsonChair:�Graham�Long

East MidlandsJessica�TickellLaura�BoswellMelanie�GibsonChair:�Peter�Knott

LondonJacqueline�RoseAnne�HartleyChair:�Justine�Simmons

North EastBen�AyrtonAnna�SpencerChair:�Leon�Mexter

North WestCatherine�WaddingtonHannah�McAdam

South EastEsther�FoxStephanie�AdamouSarah�DanceChair:�Jo�Nolan

South WestKaren�CorrLeanne�DingleLaura�PhelpsChair:�Neil�Armstrong

West MidlandsNaomi�TempleHelen�KnottChair:�Ros�Robbins

YorkshireElenid�DaviesDavid�RatcliffeChair:�Andrew�MacGill

National projects

Games TimeStephen�Munn

Land of GiantsKathy�HayesJohn�WassellChair:�David�Watters

somewhereto_Michelle�ClothierSam�ConiffAnna�Hamilos

Speed of LightCristina�ArmstrongAngus�Farquhar

Tate MovieJane�BurtonAntoinette�O’Loughlin

Tree of LightJacqui�IbbotsonPaula�ClarkChair:�Tony�Stratton

UK School GamesBaroness�CampbellSteve�GraingerHeather�McCormick

ProtectorPatrick�Harrington�QC

And with thanks toIan�AdamOse�AhianbaLauren�AmeryJean�BarclayErin�BarnesLeonie�BellGemma�BeltonPaul�BrookesChris�ButcherNick�CadyTamsin�CoxTodd�DavisAnne�DodwellPaul�DohertyRichard�DyeJonathan�Edwards�CBENikki�EnochSteven�FoulstonAlan�FransmanLorna�FultonBeatriz�GarciaTessa�GordziejkoBaroness�Grey-ThompsonFran�HegyiVikki�HeywoodKatie�HuaneLiz�HughesPaul�KaynesDebbi�LanderCaterina�LorrigioDavid�LucasRuth�MackenzieJanice�NeedhamJo�O’DriscollEllen�PotterJonathan�RennisonLeonie�SakeyAnn�SandersEmma�SlawinskiCian�SmythDes�ViolarisDaniel�WilliamsGwyn�WilliamsHeather�Wright

� Lifetime�Review�2007–13� 47

Legacy Trust UK5–6 Bath Place Rivington Street London EC2A 3JE

T 020 7033 2450www.legacytrustuk.org

Image creditsCover Brian Slater Photography

P1 Ben Pruchnie

P5 Alan McAteer

P6 Solar Learning, Youth Sport Trust

P7 Nic Serpell-Rand, Encompass, Tate

P10 Youth Sport Trust, Donal McCann

P11 Guzelian, Kev Ryan

P13 ( from Scotland clockwise) Ross Aitken, Youth Sport Trust, Kippa Matthews, Martin Wrate, Big Dance, Tate, Cauldrons and Furnaces, D&H Photographers, Beam Creative Network

P14 Voala

P15 Tate

P16 Community Games

P17 Kippa Matthews

P18 Land of Giants, Neil Harrison and Carrie Davenport

p19 Magneto Films

P20 Magneto Films, Kev Ryan

P21 Magneto Films, Donal McCann

P22 Ben Johnson

P23 Brian Slater Photography

P24 (clockwise from top) Glenn Edwards, Neil Harrison and Carrie Davenport, Katja Ogrin, Ben Johnson

P26 Tom Lonsdale, Stewart Smith

P27 D&H Photographers, Lakes Alive

P28 Lakes Alive

P29 Rachel Cherry, Encompass

P30 Youth Sport Trust, Chris Maines Beasley

P31 Marc Sethi, Curious

P33 Mark Hills

P34 Youth Sport Trust

P38 Echo Echo Dance Theatre Company

P40 Disabled British Open

P42 (top to bottom) SPUN Productions, Cauldrons and Furnaces, Solar Learning, Edward Lockyer

P44 MSethi, Ross Aitken

P45 Brian Slater Photography

P46 Press Association

48 Lifetime Review 2007–13

Design: red-stone.com Printed on 100% recycled paper

Registered charity number: 1118809 Registered company number: 06013157

Contents

Foreword 2

Section 1: Set up and grant making 2007–13 4About the Trust 6Mapping our legacy 8Our projects 10Making an impact 12Case studies 14

London 2012 22

Challenges 28

Post Games 2012–13 32

Section 2: Financials 34

Section 3: Learning opportunities 38Cross sector partnerships 40The importance of being a Supportive Funder 41Engaging people with disabilities requires a specific focus 41Sustainability 42Give young people a chance to take the lead 43A lasting difference for individuals 44Involve the whole of the UK 44

Securing matched funding in a recession 45

The last word 46

Acknowledgements 47

Lifetime review 2007–13

www.legacytrustuk.org

Leaving a lasting legacy from London 2012 in communities throughout the UK

Lifetime review 2007–13