Legacy Trust UK Lifetime Review 2007-13
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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
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
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
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
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.
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
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
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