Final Evaluation Report

Evaluation ReportCreating a lasting cultural

and sporting legacy from

the London 2012 Olympic

and Paralympic Games

March 2013Tree of Light© Nic Serpell-Rand

Legacy Trust UK Evaluation Report | 3

Legacy Trust UK has played an integral part in this success. Established in 2007 with a £40 million endowment to create a lasting legacy from the Games, we have been supporting innovative projects to deliver this aim and bring London 2012 to communities up and down the country. By uniting sports, culture and education, the Trust aimed to offer exciting and original programmes that reflected the diverse people and places of the UK. Our flexible approach to funding supported our partners in each nation and region to develop their ideas and deliver their work, rather than imposing our ideas top-down.

In this evaluation we have had the chance to stand back and look critically at what Legacy Trust UK and our funding has achieved. As well as confirming the significant impact of our programmes, it has given us a rich insight into how our funding has created a lasting difference to individuals and communities across the UK. It has also shown us how our funding has been used to create nationally significant pieces of work that showcase new approaches to culture, education and sport. I am delighted that our evaluation has revealed some compelling figures – over 1 million children and young people involved in our projects; 43,000 volunteering

opportunities; 11,000 emerging artists supported; audiences of 11.6 million; project matched funding totalling a substantial £55 million, to name a few.

Having spent the last five years creating and managing these programmes, we want to ensure that our knowledge and learning is not lost with the close of the Trust in March 2014. In 2008 our Legacy Standard set out the principles to which our projects were to strive towards. We have taken this and built in the lessons we have learnt from the last four years, to create a revised version, which we believe will help other funders get the greatest lasting impact through the work they fund. The revised Legacy Standard is outlined in Section 8 of this report.

I would like to take this opportunity to thank all those involved in delivering our funded programmes and projects. In particular our partners at LOCOG, the Arts Councils, Creative Scotland, the British Council and BP for their support in helping us make our programmes a success. Thanks of course goes to Janice Needham and her team who have diligently carried out this research over the past nine months. Finally I would like to thank the LTUK Board for being bold in their decision making and for empowering the Trust to be forward thinking in the way it invested in this new and innovative work.

So much has been achieved over the last four years but we are now at a tipping point. The successes are fresh in our minds and we can still see the impacts, but the questions now for delivery organisations, funders and policymakers, are what can be retained, invested in and ensured for the future? How do we sustain the momentum generated by London 2012? How do we maintain and grow interest in volunteering and further inspire young people to take action? How can we continue to raise the bar for disabled people and offer more opportunities for communities to develop their own ideas?

Our evaluation shows that great things can happen by giving communities a voice and supporting young people to realise their ambitions. By working together, we can ensure that 2012 is remembered as the year that started a cultural revolution in the UK, and that by the time Rio 2016 comes around, many more people and communities have been supported to find their own London 2012 legacy.

Moira Swinbank OBE

Chief Executive

Foreword by Moira Swinbank OBEContents

Foreword 3

Executive Summary 4

Introduction 6

Context 8

The Model 10

Overview of funding 18

Impact for individuals 20

Impact for organisations and communities 31

Lasting strategic difference 39

Continuing to build the legacy 44

Conclusion 48

The year 2012 will be remembered forever as a fantastic year for home-grown sport; but also for the arts, cultural and education opportunities offered across the UK for communities to engage with London 2012 wherever they lived.

The full report with appendices is available on our website at www.legacytrustuk.org/publications

Night of Festivals© ArtReach

by Janice NeedhamWith Jean Barclay,Ann Sanders, Mark Robertson

4 | www.legacytrustuk.org Legacy Trust UK Evaluation Report | 5

Achievement of scale ofinvolvement throughoutthe UK:

With an initial investment of £40 million, Legacy Trust UK has funded 16 programmes – four UK wide programmes and one in each region and nation – with the common themes of uniting culture, sport and education and benefiting communities. These programmes have:

• reached audiences of 11.6 million and involved 1.37 million participants

• supported over 43,000 people volunteering

• engaged over one million children and young people

• supported almost 11,000 emerging artists

• secured £55.6 million in match funding

There is strong evidence that the Trust has been extremely successful in creating a lasting cultural and sporting legacy from the London 2012 Olympic and Paralympic Games – for individuals, organisations and at a strategic level.

An effective funding model

The Trust’s approach appears to have been highly effective. Important features of the model are:

• a UK wide, programmatic approach with strong regional buy-in and emphasis on partnership

• investing in ideas spanning engagement and quality

• the length of funding provided (three to four years), with amounts agreed up front to support planning and leverage of other funds

• the development of a Legacy Standard to define what legacy meant as well as to use as criteria in assessing proposals

• operating as an engaged funder, investing in relationships and creating a culture of working collaboratively and flexibly.

Factors also contributing to the success of the approach include:

• independence of the Trust – allowing a distinctive approach to funding and supporting innovation and risk-taking

• highly effective leadership and a strong staff team.

A Theory of Change model developed as part of the evaluation process outlines how the Trust’s approach and programmes’ activity contributed to impact for individuals, organisations and communities and a wider strategic impact. An updated Legacy Standard has also been produced to incorporate elements of the Theory of Change. These frameworks should be of wider interest and useful to funders and programme developers wishing to make a long term impact.

A lasting difference forindividuals, organisationsand communities

There is extensive evidence that Legacy Trust UK’s funding has made a lasting difference to significant numbers of individuals throughout the UK, in particular increasing confidence, aspiration and skills development. There is also evidence that involvement in the programme has led to individuals subsequently securing employment or studying.

The programme has contributed to people feeling part of stronger and wider social/community networks and an increased sense of civic pride and sense of place. Factors that have contributed include: personal

relevance – cultural experiences which provide a link to the personal history and interests of the individual; sense of place – cultural activities integrated into people’s everyday lives and structures; trust – cultural activities which are in familiar surroundings and contexts.

All programmes engaged with children and young people, with over one million involved. Many programmes have also been implemented with young people in new roles as designers and leaders of cultural activity.

Several programmes had projects focusing on disabled people and this was the primary focus in the South East. This work has been successful in delivering lasting change for disabled people, as well as increasing understanding and awareness of disability issues for non-disabled people. However in many other programmes the proportion of disabled participants was low, indicating that engagement is difficult for disabled people if not given a specific focus.

There is extensive evidence of engaging hard to reach individuals - in terms of geography, deprivation and minority communities. Factors which have contributed to successful engagement include: delivering activities in local areas including outdoor events; ceding control to target groups to create a

sense of ownership; a partnership approach, including using sports structures to give access to those not usually participating in cultural activity; and incorporating mentoring into projects to provide additional support.

There is significant evidence that the programme has made a lasting difference to organisations and communities. Several new organisations have been created and nurtured, extensive partnerships cultivated and the skills of staff and volunteers in organisations developed. New programmes and activities have been designed to reach new audiences, along with the knowledge and systems developed to ensure that this can be continued in the future. Partnerships have contributed significantly to this. Many organisations have been successful in attracting new funding for their activities.

A lasting strategic difference

At a strategic level, there is evidence that programmes contributed to the local economy including tourism. This has led to some successes in influencing funders and cultural agencies at a strategic level, most notably in the East Midlands. It remains to be seen whether the experience of the programme results in a change in funding policy and practice by

other local authorities or Arts Council England, and this could be an area to assess further in the future.

The Trust’s programmes have contributed to significant sectoral development in the areas of outdoor arts, dance, physical performance, community-based sporting activity and digital media/new technology. There is extensive evidence of leverage of funding including from the private sector.

Continuing to build the legacy

The legacy from funded programmes is strong, with a wide range of activity continuing in 2013 and beyond across the UK. The Trust is continuing to build its legacy through funding a number of transition projects and exploring young people’s views on legacy.

There is significant potential for the Trust to share learning on creating legacy or lasting difference, including the benefits of the LTUK model, early development of a Theory of Change and use of the updated Legacy Standard.

The Trust will have an interest in assessing whether there is further strategic impact arising from its activities, as well as whether those changes in practice already achieved are sustained, such as increased roles for young people and disabled people in cultural activity.

Executive summary

This report presents an independent assessment of Legacy Trust UK’s performance and identifies the different types of impact and legacy achieved, as well as highlighting key learning for other funders and stakeholders. It will be of interest to policy makers in the cultural sector as well as those designing funding programmes aiming to achieve long term impact.

1. Everybody Dance Now © Central Youth Theatre / 2. UK School Games

RELAYS © HNT PhotographyBlaze


1.1 Legacy Trust UK (LTUK) was set up in 2007 to support communities and organisations across the UK to celebrate London 2012 in a way that was relevant to them and would leave a lasting legacy. Legacy Trust UK has allocated £40 million, provided by Big Lottery Fund (£29 million), Department for Culture Media and Sport (DCMS) (£6 million for UK School Games) and Arts Council England (£5 million). From 2008 to 2012 the Trust funded 16 programmes which included more than 100 arts, sports and education projects across the UK. The 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.

1.2 The objectives of this evaluation are to:

• provide a critical and independent assessment of LTUK’s performance overall

• identify the different types of impact and legacy achieved through LTUK’s funding

• highlight key learning for LTUK to share with partners and other stakeholders.

1.3 This evaluation aims to present an overview of the 16 programmes. Each programme has been separately independently evaluated and reports are available on Legacy Trust UK’s website. This evaluation draws extensively on these reports for evidence of impact and it is not the intention to evaluate the success of each programme individually.

In May 2012, Legacy Trust UK announced awards totalling over £1 million between six programmes across the country to secure an on-going legacy following the London 2012 Olympic and Paralympic Games. These ‘transition projects’ are outside the scope of this report and will be reported on separately in late 2013.

1.4 This report builds on the interim evaluation published in April 2012, which can be viewed at www.legacytrustuk.org/publications. In particular it further explores the concept of legacy and lasting difference.

A Theory of Change model for the Trust was developed at the start of the evaluation to clarify the form that lasting difference or impact would take for individuals, organisations and communities as well as at a strategic level. The evaluation framework previously developed for the interim evaluation was reviewed to reflect this Theory of Change and the evaluation aims to present evidence to assess each of the evaluation questions.

This has been gathered through interviews with programme staff, LTUK staff and board members, and by reviewing the Trust’s reports from programmes and programme evaluations. The full report with appendices is available to download on Legacy Trust UK’s website.

1.5 Section 2 presents the context for the evaluation and Section 3 presents the Trust’s ‘model’ or approach. An overview of the programmes funded and activity is given in Section 4. Impact on individuals, organisations and communities and wider strategic impact are explored in Sections 5 to 7, with Section 8 describing how the Trust is continuing to build the legacy. The conclusions are presented in Section 9.

Introduction

Since 2008, projects have reached audiences of over

11.6 million

Speed of Light© Alan McAteer


2.1 The London Organising Committee of the Olympic and Paralympic Games (LOCOG) was responsible for preparing and staging the London 2012 Games. LOCOG was also responsible for the Opening and Closing Ceremonies of the Olympic and Paralympic Games; for the Torch Relays; and for the Cultural Olympiad and its finale, the London 2012 Festival. The Trust aimed to align its work with that of LOCOG through establishing a joint relationship, underpinned by a formal Memorandum of Understanding. This Memorandum of Understanding ensured recognition for the Trust and its projects but placed limitations on future fundraising and branding due to sponsorship restrictions.

2.2 ‘Putting culture at the heart of the Games’ was one of the key messages emerging from the bid stage and the so-called ‘Singapore Promises’ in 2005 and was the London 2012 Cultural Olympiad’s main mission. The Cultural Olympiad was launched in 2008 and had a UK-wide remit with the support of the Creative Programmers network. Most LTUK programmes

were launched in 2008-9 working closely with the Cultural Olympiad teams and were given the official brand and status in 2011. The Trust was recognised as a Principal Funder of the Cultural Olympiad and London 2012 Festival. The Trust has played a key role with Olympic stakeholder organisations and was influential in the formation of the Cultural Olympiad stakeholder group which led to improved engagement with LOCOG and more effective marketing of the Cultural Olympiad.

2.3 DCMS has commissioned a meta-evaluation of the impacts and legacy of the Games. This will pull together the results of evaluations of individual legacy programmes, projects and initiatives to evaluate the overall legacy of the Games. It will aim to address overarching questions such as the impact of the Games on the UK economy and on the uptake of sport. A post-Games initial evaluation will be published in spring/summer 2013. The Cultural Olympiad is also being evaluated by a team led by the Institute of Cultural Capital based at the University of Liverpool.

2.4 This evaluation of the Trust takes place within the context of an increasing focus on the value of participation in culture, including for children and young people. Hasan Bakhshi makes a distinction between two key approaches that have traditionally been used to measure cultural value and the different kinds of outcomes and benefits that follow as a consequence: The first looks at the economic impact of cultural activity – employment, outputs, and productivity - and the second is an economic approach to culture which uses economic valuation tools to value cultural experiences1.

2.5 The first approach, focusing on economic impact would provide an analysis of the economic and social outputs of the programmes, including uptake of employment, impact on tourism etc. However this approach alone is unlikely in itself to provide satisfying conclusions, as cause and effect are historically very difficult to establish convincingly. The second approach, focusing on other “returns” on investment, can provide a different and complementary narrative in terms of the cultural value created

through programmes funded by the Trust. Both models have informed the development of the Theory of Change.

2.6 Debates about intrinsic impact of cultural participation on people and audiences have also been considered in developing the Theory of Change framework. Two reports 2 3 which draw on data from cultural organisations have provided relevant perspectives in relation to defining the focus of audience development/participation and to the constructs of intrinsic impact. Cultural participation outcomes4 can be defined as:

• Audience broadening – capturing a larger share of the population segment known to be traditional participants but who currently do not attend/participate

• Audience deepening – intensifying current participants’ level of involvement measured, for example, by the number of attendances per individual over time, or by the degree of audience (active or passive) engagement with the art form/activity itself

• Audience diversifying – attracting new groups of consumers who would not otherwise attend/participate.

2.7 In recent times the notion of place making has continued to gain currency and momentum. The evaluation team have considered the ideas, theories and evaluation of Richard Florida and Charles Landry in this respect. The correlation between participation in cultural activity and the building of identity and confidence within communities is well documented, as is the link between increased participation in the arts and a wide range of social policy objectives5. In addition we have reviewed key DCMS reports6, one of which identifies identity, place, and trust as key drivers of cultural participation and engagement. These issues have been considered when developing measures of change and impact on individuals and organisations.

2.8 The period of the Trust’s activities (2007–12) spanned significant economic, political and social changes. These included:

• economic crisis

• major reductions in central and local government expenditure

• dismantling of regional structures (such as Regional Development Agencies and Regional Cultural Consortium) and Non-Departmental Public Bodies (NDPBs) such as the Museums, Libraries and Archives Agency (MLA).

2.9 These changes undoubtedly had some impact on the Trust’s programmes including reductions in programme budgets (due to withdrawal of RDA funding for example); changes in partnerships at a programme and project level; and capacity of organisations to engage in partnerships. The economic crisis affected yields on investments - these were originally expected to be £8 million but were lowered due to the economic situation. However, they were still relatively high (£6.1 million) indicating effective management of the portfolio. This meant the overall endowment represented £46.1m over the lifetime of the Trust. This represents a good return considering: the short timeframe for investment; that LTUK was actively making grants during the period of investment; and the fact that Trust aimed to spend out by the end of its existence.

Context

1. Hasan Bakhshi: Keynote speech delivered at Culture Count: Measuring Cultural Value Forum, Customs House, Sydney, Australia, Tuesday 20th March 20122. A New Framework for Building Participation in the Arts: Kevin McCarthy and Kimberly Jinnett (2001) http://www.rand.org/pubs/monograph_reports/MR1323.html3. Intrinsic Impact: How Audiences and Visitors are Transformed by Cultural Experiences in Liverpool, Baker Richards and Wolf Brown, Liverpool Arts Regeneration Consortium (2011)4. ibid 25. The Art of Regeneration: Urban Renewal through Cultural Activity (First Published by Comedia in 1996) Written by Charles Landry, Lesley Greene, Francois Matarasso, Franco

Bianchini Joseph Rowntree Foundation, 20016. 2005 DCMS report Culture on Demand: Ways to engage a broader audience: Findings by Fresh Minds

Evaluation questions

How does the Trust fit with other Olympic organisations and national cultural organisations?How did programmes/projects complement other relevant large scale programmes?Has the context that the Trust operates in enhanced delivery or inhibited it?


History and background

Why was the Trust set up, and what led to the adoption of the strategy, i.e. what was the rationale for the 16 programmes?

3.1 Big Lottery Fund/Millennium Commission, Arts Council England and the DCMS invited proposals in May 2006 to establish a new charitable Trust which would make grants to support a range of cultural and sporting activities across the UK in the run up to the London 2012 Olympic and Paralympic Games.

The grants would:

• promote the Olympic ideals celebrating mind, body and spirit

• foster innovation and creativity

• strengthen the creative and technical skills base across the UK

• encourage a joined-up approach across sport, physical activity, culture and education

• offer young people and diverse communities the opportunity to fully participate in the build-up and delivery of the Games in 2012 and

• leave a lasting positive legacy from the Games for future generations

3.2 A consortium comprising City Bridge Trust, Business in the Community, TimeBank, East London Business Alliance and Yorkshire Forward was chosen as the preferred candidate to develop an application for a £40m endowment. Legacy Trust UK was established with the Board appointed in June 2007. Funding was awarded in September 2007, and the Trust was launched in November 2007.

The Model

Key findingsLegacy Trust UK’s approach appears to have been highly effective. Important features of this model are: •aUKwide,programmaticapproachwithstrongregionalbuy-in

•anemphasisonpartnershipwhichcontributestoparticipation,qualityandlegacy

•investinginideasspanningengagementandquality

•lengthoffunding,withamountsagreedupfronttosupportplanningandleverage

•developmentofaLegacyStandard–todefinewhatlegacymeansaswellascriteriaforassessingproposals

•operatingasanengagedfunder,includinginvestinginrelationships.

Factors contributing to the success of the approach: •Independencewascrucial–allowingadistinctiveapproachtofunding–butwithimplicationsfor

branding and influence

•Afocusonlegacyprovidedabroaderremitthanotherfundingagencieswithafocusoncommunity engagement and partnerships across sectors

•Highlyeffectiveleadershipandastrongstaffteam,supportingacultureofflexibilityandcollaboration as well as innovation and creativity.


What do the following factors tell us about Legacy Trust UK’s model?•Historyandbackground•Grant-makingstrategy•Governanceanddeliverystyle

3.3 The Trust decided that its funds would make the maximum impact and have the greatest chance of achieving the desired outcomes if the programmes supported were small in number, reasonably sized in terms of the amount of grant awarded and lasting periods of four or five years. Supporting only a small number of projects would also mean that the Trust had no need for a large grant-making function and could keep its administrative overheads to a modest level. It was proposed that the majority of the programme of projects supported would be based on the Nations and Regions framework and the associated regional cultural consortia. In addition, the Trust wanted to support up to three UK wide projects alongside the UK School Games for which funding was already earmarked.

3.4 It was expected that the majority of projects funded by the Trust would be eligible to be part of the Cultural Olympiad and that all projects would meet the criteria set out in the Trust’s Legacy Standard (see box right).

Legacy Standard (2007)Projects will be expected to:

• 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 London 2012

• 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).

Over

43,000 people took part in volunteering opportunities


3.5 The Trust adopted an allocation model for the £24m it planned to award to the nine English regions and three nations. The model was based on two elements; a base allocation divided equally across the 12 regions and nations (25%) and an allocation weighted according to population and deprivation indices (75%). Details of allocations are given in Section 4.

3.6 Advisory Groups were established, each comprising a Trust Board members and senior staff, Regional Cultural Consortia, Regional 2012 Co-ordinator, a representative from Arts Council England, Sports Council, Regional Creative Programmer, the RDA and other regional stakeholders such as from health and Big Lottery Fund. Variations on this model were agreed for the three nations, reflecting the differing structures and context in each country. These Advisory Groups developed proposals for each region, which were then brought to the Trust’s Board for decision.

3.7 The UK wide programmes were informed by the London 2012 bid, with a focus on young people and volunteering. In addition to the UK School Games the Trust identified three areas for UK wide programmes – one aimed at primary school children, one for young people and one supporting volunteering. UK wide programmes were established as follows:

• primary school children – the Board issued a call for proposals for a UK wide programme and received several bids, with Tate Movie awarded funding

• young people – the Board invested money in scoping this programme which developed into somewhereto_

• volunteering – this strand was developed and changed focus to become Community Celebrations, bringing large scale celebrations and spectacle for communities to join in with the excitement of the Games. This strand was delivered in four locations: Scotland (Speed of Light), Northern Ireland (Land of Giants), South East (Tree of Light) and East Midlands (Games Time).

3.8 Further information on the 16 programmes is given in Section 4.

Grant-making strategy

What have been the advantages and disadvantages of a regions and nations approach?

3.9 The regions and nations approach had the following advantages:

• It built ownership in regions through the process and brought cross-sectoral partners together

• It enabled programmes to reflect a ‘sense of place’ in their proposals

• The inclusion of Board members on each group ensured that when proposals came to the Board, in general they were more or less ready for approval and had a ‘sponsor’ at Board level

• The early set-up and length of funding offered facilitated leverage and long-term planning

• The early set-up ensured a majority of the programmes commencing delivery in 2009, resulting in strong programming in 2011 and 2012

• The programmatic approach was cost effective and hosting the programme in a regional/national agency used resources effectively while ensuring robust processes such as accounting were in place.

3.10 There were some potential disadvantages of such an approach, but these were mitigated:

• disconnection between the regions/nations and the Trust – this was mitigated through the involvement of Board members and subsequently senior Trust staff at Advisory Groups and latterly Programme Boards

• a skew towards one particular art form, for example if many regions had proposed dance as a focus for the programme – this risk did not materialise and there was a wide range of approaches, as described further in Section 4.

What has been the effect of the Trust’s requirements for partnership working and additional funding?

3.11 The Trust’s emphasis on partnership began with the composition of Advisory Groups and ran through all strands of activity, including its relationship with hosts and the delivery of programmes. It is a key feature of the Trust’s approach and has contributed to leverage of funding, increased participation and building capacity and sustainability, as discussed further in the following sections.

Governance and delivery style

How have decisions been made on strategy and on the Trust’s individual programmes?

Has the Trust acted as a supportive funder to enable quality delivery of projects and supported organisations and partnerships to thrive?

3.12 The governance of the Trust and delivery of programmes centred on strong and effective relationships, led by a highly effective Chair and Chief Executive and supported by a skilled and experienced Board and staff team.

3.13 Quality assurance was achieved through the involvement of Board members in the Advisory Groups. Trust staff subsequently attended regional programme boards and this is also seen as an extremely positive part of being a supportive funder.

Relationships were developed and this supported a more flexible approach built on trust rather than on bureaucracy and process. The Legacy Standard described above also provided a framework for quality in programme design and delivery.

Has the Trust taken risks in the way it works?

3.14 The interim evaluation explored risk, concluding that the Trust embraced risk for example by making an early up-front investment into programmes to allow them to develop new and innovative ideas and bring other funders to the table. However, decision makers were confident with the risk level, as there were effective controls on the release of funds and strong relationships were developed with programmes. The programmes were in turn

supported to embrace risk, enabling the Trust and partners to adopt a developmental approach to projects, allowing work to respond to what communities and cultural consumers wanted.

Has stakeholder awareness of the Trust’s role in the cultural legacy of the Games increased?

Was the perceived link with Olympics and Cultural Olympiad a barrier or an enabler?

3.15 The aim of the Trust’s communications activity was to develop relationships with stakeholders, ensuring recognition of Trust funding and consistency where appropriate. A conscious decision was made to support the profile of the programmes and not of the Trust itself. This approach resulted in a relatively low profile for the Trust as a brand and although this helped create strong identity of programmes and projects,

Figure 1: Legacy Trust UK Communications outcomes

Positive relationships with stakeholder groups

Increase in stakeholder, media and public understanding of LTUK role, aims, remit, and programmes

Recognition of LTUK as authority on post- Games legacy

Support delivery partners in promoting LTUK programmes nationally and regionally

Representation of Principal Funder by LOCOG cultural communications is prominent & consistentt

LTUK funding appropriately acknowledged across all partners

LTUK communications activities aimed at primary and secondary stakeholders

An increase in stakeholder awareness of LTUK and its role in the cultural legacy of the Games


there were implications for Trust’s level of influence. The approach is summarised in the diagram above (Figure 1).

3.16 Programme staff reported that the Trust’s funding had been acknowledged and the central communications function had focused on consistency. Challenges for programmes in this area included:

• the ‘crowded marketplace’ and complicated Cultural Olympiad framework (and communicating their part in it) – this applied to physical branding but also to wider messaging

• low visibility ahead of 2012 due to limited public delivery

• for those programmes being hosted by Arts Council England, communications were more complex (although it was acknowledged that this also brought many benefits)

3.17 The Trust was a Principal Funder of the Cultural Olympiad and London 2012 Festival; however the relationship between the Trust’s programmes and the Olympiad/Festival in the regions and nations varies. Perhaps predictably, where the Arts Councils hosted the Trust’s programme (and the 2012

Creative Programmer) there is a strong relationship. In other regions where the host was a different agency (North East, South West, Eastern, South East) the programme had a specific emphasis in addition to cultural activity (young people-led, education, economic, disability) and the relationship with the Arts Council and Cultural Olympiad was different as a result.

3.18 The Interim Evaluation reported that several contributors felt that the relationship between the Trust, LOCOG and the Cultural Olympiad had been unclear at times and that this had been an obstacle to effective planning, marketing and communications. The Trust had money but not the ‘moniker’ of the Games. Many commented that the Trust had shown political leadership in resolving any issues arising from the complex relationships, including the relationship of Legacy Trust UK projects to the Cultural Olympiad.

3.19 There was general agreement that participants and audiences were aware of the link with the Olympics and Paralympics and this is borne out by evidence from programme evaluations, which is presented in Section 5.

Where there was synergy with the Cultural Olympiad, this supported greater awareness of the links.

3.20 In general, being linked to the Olympics and Cultural Olympiad was seen as an enabler, particularly to engagement. Data collected for the Cultural Olympiad evaluation identified the following as the most common benefits in being part of the Cultural Olympiad:

• attracted different participants/audiences

• worked with new partners

• felt part of a bigger national celebration.

The main barriers arising from the link were complexities relating to branding and limitations on fundraising and sponsorship.

Value of the model

About the model

3.21 Figure 2 (right) presents the Trust’s Theory of Change, illustrating how the various aspects of the model contribute to its impact. This model has been informed by the Legacy Standard developed by the Trust and presented in Section 3.4 above.

Communities that have been inspired

Increase in reach/diversity Positive outcomes from ground-breaking programme activities

Funding across traditional boundaries i.e. sport/art/education

Outcomes from LTUK funding programme linking cultural provision to international sports events (Olympics)

Use of Regional programmes to reach all of UK

Flexible approach to funding

LTUK set up as time limited, independent charitable organisation – low profile – willing to take risks

Skilled and experienced Board in place

A lasting difference for individuals

A lasting difference for funded organisations


Successful delivery of diverse programmes and projects throughout UK with emphasis on engagement and increased reach

Supporting new types of cross-sectoral partnership/collaboration

Small but skilled/experienced staff team

£40m spent on funding diverse portfolio of projects – money agreed up front and over 4-5 years

Focus on delivery – supportive funder – embrace and manage risks, invest in ideas, build ownership

Projects attracted additional funding

Figure 2: Theory of Change

Projects have engaged over

one millionchildren and young people


3.22 In the Theory of Change the concept of legacy has been articulated as three types of difference or impact – for individuals, for organisations and a wider strategic difference.

3.23 The concept of the Legacy Standard can be further developed, drawing on the learning from articulating the Theory of Change. This may be of wider interest and is considered further in Section 8.

3.24 The Big Lottery Fund’s research on outsourcing grant-making7 published in August 2012 provides external validation that the Trust’s model was effective. Edited extracts from this research are as follows:

• BIG had delivered a wide range of programmes through trusts. Although trusts were seen as a vehicle to allow for experimentation in grant, they also required a coherent programme design combined with a delivery partner or partners capable of realising the goals of the programme. This was held to be a strength of trusts such as Legacy Trust UK.

• In the case of Legacy Trust UK, a strength of the Trust was seen to be that the trust deed and work programme were very

clear at the outset and enabled the Trust to have a strong focus on delivery.

• The costs of Legacy Trust UK were relatively low - in the most recent year (2010-11) costs amount to less than five per cent of expenditure. Investment income for the two most recent financial years has been £1.07 million (2009-10) and £0.56 million (2010-11). Investment income has been used to increase programme expenditure and suggests considerable value for money for this Trust. It was noted that by working through existing external networks, operating costs have been able to be kept low.

• Added value – Legacy Trust UK is a new organisation founded by funding partners with a focus on delivery of a predetermined programme (e.g. UK School Games and Cultural Olympiad) but also to grant fund local projects around a series of key themes. The organisation formed had no prior history of delivery. Delivery has been on target and success factors seen to be around well-defined programmes, strong networks and partnerships and staff capacity.

How does the Trust’s work compare with other similar agencies? Would any of this work have been likely to be carried out without the support of the Trust?

3.25 For many, the Trust is seen as different to other agencies in the work that it funds and the way that it works. The interim evaluation found that the work had challenged the perception that high quality culture and a participative approach are mutually exclusive. A few contributors reflected that Arts Council England often has a primary focus on artistic quality and local authorities an emphasis on community participation, while the Trust had been able to combine both aspects. In addition, the Trust’s approach was seen as different to that of the Arts Council England (ACE) who tend to fund established organisations with a track record.

‘Other funders want fully developed projects and possible funding in place. LTUK will support looser, less specific, aspirational plans. Plus there is an understanding that they will be flexible.’

Elenid Davies, Programme Manager, imove

3.26 The majority of those interviewed or surveyed for the Interim Evaluation stated that it was unlikely that the work would have been carried out without the support of the Trust. This is consistent with data collected for the Cultural Olympiad evaluation which indicates that around 70% of projects would not have taken place without Trust funding.

What are the strengths of the Trust’s approach? What is its Unique Selling Point (USP)? In what ways has the Trust’s funding and approach assisted cultural participation?

3.27 The approach to governance and delivery described above was cost effective and contributed to a sense of ownership in the programmes rather than a ‘top down’ approach. However there were challenges in terms

of capacity for those charged with managing programmes on behalf of the Trust. Programme Managers identified capacity as a key challenge in two areas:

• for current activity – how to balance maintaining the momentum and capturing the range of activity across the region against time to develop and maximise impact of programme

• in looking ahead – how to balance on-going delivery with developing opportunities for future sustainability, or planning for legacy while delivering programme (including feeding into the Commonwealth Games Cultural Programme for example).

3.28 As part of the Cultural Olympiad evaluation, Legacy Trust UK’s programmes were surveyed on

the benefits of the funding. The most popular responses were:

• increased the ambition/scope of the project

• worked with new partners

• felt part of a bigger national celebration

• engaged more local participants/audiences.

3.29 The Trust’s USP is that it is a UK wide, independent organisation, straddling arts, sports and education sectors and traditional partnerships. The focus on partnership and community engagement has supported cultural participation, leading to audience broadening, deepening and diversifying. It has made a lasting difference to individuals, organisations and at a strategic level, as explored further in Sections 5 to 7.

7. http://www.biglotteryfund.org.uk/global-content/research/uk-wide/outsourcing-our-grantmaking

Big Dance © Rachel CherryFive Ring Circus

Echo Echo Dance Theatre CoThe Great Train Dance

Synchronised © Guzelian


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Allocation of funding

4.1 A wide range of programmes and projects have been funded across the UK, with 12 programmes in regions and nations alongside four UK wide programmes. A total of almost £41 million has been allocated to programmes and the allocation of funding is shown in the chart below.

Overview of programmes

4.2 Programmes which can be classified according to their primary theme or focus were one of more of the following:

• children or young people – 13 programmes

• community engagement – 10 programmes

• partnership and innovation – 8 programmes

• accessibility and inclusion (including disability) – 4 programmes.

4.3 Several programmes had a strong cultural content, in particular those hosted by Arts Council England such as imove in Yorkshire, Igniting Ambition in the East Midlands and Moving Together in the West Midlands. Others had an economic or education emphasis such as Eastern Rising in the East of England (originally hosted by the RDA) and RELAYS in the South West (hosted by Universities South West). A third group had a focus on influence – Accentuate in the South East aimed to bring about a cultural shift in attitudes to disability and NE Generation in the North East aimed create a shift in the way young people and cultural organisations work together.

4.4 Programmes have:

• reached audiences of 11.6 million

• involved 1.37 million participants




• resulted in an economic impact of £58 million

• levered an additional £55.6 million in funding.

4.5 At a programme level, imove in Yorkshire had the highest audience figures at 2.1million. Igniting Ambition in the East Midlands supported the largest number of emerging artists at just over 3,000, followed by imove in Yorkshire, somewhereto_ and The Scottish Project in Scotland – each supporting around 1,300 emerging artists. Due to its Community Games strand and high levels of participation, the Moving Together programme in the West Midlands supported over 41,000 disabled people (estimated). Accentuate in the South East recorded a high number of disabled participants at almost 22,000 across all the different project strands.

4.6 The funding of £40 million can be considered as a cost to the Trust equating to approximately:

• £4 per audience member

• £30 per participant

• £75 per volunteer

It is not possible to make a ‘value for money’ comparison against equivalent costs for other programmes. However this level of investment can be considered against the benefits described in the following sections of this report.

Mission, aims and objectives

4.7 The aim of the Trust is to create a lasting cultural and sporting legacy from the London 2012 Olympic and Paralympic Games’, with objectives:

• to unite culture, sport and education, in line with the values and vision of the Olympics

• 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 Interim Evaluation presented evidence that “Legacy Trust UK is achieving its aims and objectives and supporting activities of scale, breadth and depth”. It reported that the Trust had been highly successful in engaging communities and encouraging cultural participation and had brought a risk-taking, innovative approach, including building links between sports and arts.

4.8 The remainder of this evaluation report explores ‘leaving a lasting cultural and sporting legacy’ – and ‘lasting difference to all those involved – at an individual, organisational and strategic level’.

Overview of funding

Key findings •TheTrusthasfunded16programmeswithafocusonchildrenandyoungpeople,communityengagement,partnershipand

innovation and accessibility and inclusion

•Activitieshaveinvolved1.37millionparticipantswithaudiencesof11.6million

•Nationalandregionalprogrammeshaddifferentcharacteristics,includingafocusoneducation,economicdevelopment,influencing change in relation to disability and young people as well as many programmes with a strong cultural content.


How has the £40m been allocated and spent? How has the expenditure contributed to the mission, aims and objectives of the Trust?


Introduction

5.1 The Theory of Change outlining how the Trust’s funding could contribute to lasting difference to individuals is shown below. This proposes that the following are indicators of lasting difference or impact for individuals:

• Increase in inspiration/confidence/curiosity

• Individuals employed in new jobs

• Individuals studying on courses

• Increased individual capacity through skills development, including professional artistic development

• Involvement in stronger and wider social/community networks

5.2 Programme documentation, including external evaluations has been reviewed for evidence of these indicators of individual impact and a summary of evidence is presented in the appendices which are available to view on the Trust’s website. Given that the Theory of Change is being applied retrospectively, information related to the relevant indicators may not have been collected in the evaluations. The content and coverage of the evaluations also varies. In general it is therefore not possible to assess whether a particular impact has definitely not been achieved or whether evidence has not been presented. This emphasises the importance of developing a Theory of Change at an early stage, including

articulating how lasting difference might be demonstrated to support the collection of evidence.

5.3 Review of the data from the programme documentation has identified some additional indicators of impact for individuals, including:

• Increased pride, community spirit or sense of place

• Increased awareness and understanding of disability and increased understanding of other cultures.

5.4 All programmes are able to evidence lasting difference to individuals and the specific indicators are considered below. The depth of engagement is of course varied – individuals can be a member of an audience,

Impact for individuals

Key findings •Itappearsthattheprogrammeshavebeenofhighqualitywithsignificantevidenceofsatisfactionofparticipantsandaudiences

•Allprogrammesareabletoevidencethatalastingdifferencehasbeenmadetoindividuals

•Typesofimpactdemonstratedincludeincreaseinconfidenceandinspiration,employment,studyandskills.Individuals are also more likely to be involved in stronger and wider community networks and have an increased sense of civic pride and sense of place

•Individualsbenefitingfromtheprogrammeincludesignificantnumbersofchildrenandyoungpeople,aswellasdisabledpeople and those who are ‘hard to reach’, i.e. do not usually participate in cultural activity

•IngeneralthereisevidencethatindividualsparticipatinginprogrammeswereawareofthelinkwiththeOlympicsalthoughthisis strongest where there was greatest synergy with the Cultural Olympiad.


Have individuals had a high quality experience? Has there been a lasting difference for individuals?Has there been a lasting difference for young people, hard to reach, disabled people?To what extent were individuals aware of the link with the Olympics/Paralympics and Cultural Olympiad?

£ LTUK funding and support

High quality opportunities/experiences produced by LTUK funded projects

Events/activities effectively marketed and communicated

High quality experiences of participation & engagement

Individual participation (including volunteering) & engagement (spectators) in LTUK funded activities

Individuals trained in diverse range of skills (including digital media)

Individuals studying on courses

Individuals employed in new jobs

Increase in inspiration/confidence/curiosity

Stronger and wider social/community networks

Increased individual capacity for good work

A lasting difference for individuals involved

Theory of Change 1: A lasting difference for individuals


participant, artist, project leader, etc. However there is evidence of impact even for those with least involvement (audience members).

5.5 A number of programmes presented stronger evidence across the full range of indicators, including the West Midlands and Land of Giants. Others had evidence of individual impact with a very specific focus, in particular the UK wide somewhereto_ (access to space and opportunities for young people), UK School Games and Tate Movie (children’s animation project).

5.6 Evidence presented in this report aims to represent numbers of individuals rather than be based on case studies of specific individuals. However there are many powerful examples of the lasting difference made to individuals and case studies are available on Legacy Trust UK website [www.legacytrustuk.org/case-studies].

Quality of experience

5.7 The Theory of Change model assumes that individuals need to have a quality experience as a precondition to there being a lasting impact. In general individuals’ perceptions of quality of activities are very positive. Evidence from evaluations includes:

• Tate Movie – 9 out of every 10 children thought the workshop they participated in was ‘great’ and fewer than 2% overall did not enjoy their experience

• Land of Giants – 77% of participants stated that their expectations were exceeded, 20% expectation were met, 3% fell below expectations

• Tree of Light – 92% responded ‘yes’ to ‘did you enjoy the performance?’

• North West – 95% of audience members rated the quality of the events as good or very good.

Confidence, inspiration and curiosity

5.8 All programmes were able to evidence difference in individual’s confidence, inspiration and curiosity. Evidence includes:

• Tate Movie – the primary impact and main benefit fed back from the gallery partners’ perspective was the perceived impact on children’s attitudes to visiting galleries. Representatives from the galleries felt that this had been a fantastic opportunity to get children into the space and interacting with the collections. The fact that the activities they then did were so exciting to them meant that positive associations could then be seen to be established, where previously children had perceived these types of locations to be ‘boring’. The Plymouth Gallery visited as a case study reported that numerous children who had attended the gallery tour were bringing their families in the following weeks and months.

“It was well cool when we went to the art gallery – we saw mini life statues. It was so incredible because none of us had ever seen it before.”

(participant, Eastbourne, Gallery Tour)

Two thirds (65%) of parents-reported greater interest from their child in animation/animated films; greater interest in drawing, and 44% of parents felt that

using the website had resulted in their child taking a greater interest in art in general

• Speed of Light – 94% of those who completed the survey and who took part as runners had not attended an NVA event before, with 41% strongly agreeing or agreeing that taking part in the project had increased their enthusiasm for arts and culture. 55% strongly agreed or agreed that taking part had increased their appreciation of Scotland’s landscape and 26% agreed that it had encouraged them to walk more regularly

• Wales – Power of the Flame Participants reported that involvement in projects had helped boost confidence and self-esteem.

“It has given me confidence to think that I – we as a group – can do more. There’s no sense that we can’t do stuff any longer.”

(participant, drama group)

• West Midlands – there was a high level of consensus amongst participants that their confidence was boosted (74%) and that they had made new friends/contacts (70%). Three months subsequent to their engagement in projects, the majority of telephone interviewees stated that projects had made them more confident as people (64%) and had improved their social life (57%). There is evidence to suggest that some participants/audience members have been inspired to pursue a career in the cultural sector. Since projects concluded, some former participants had taken steps towards a career in the cultural sector (31%). For example, some had begun

Lyme RegisFossil Festival


studying towards a (cultural) qualification (23%) and/or had been volunteering for a cultural organisation (9%) and/or had since got a job in the field (4%)

• somewhereto_ – 77% of respondents said that the project had made a difference to them, especially in meeting new people, increasing their confidence, thinking about volunteering and changing their ambitions for the future

• UK School Games – over nine out of ten competitors (92%) agree or strongly agree that they had been inspired to improve themselves further by their participation in UKSG. On widening participation and other sports, 55% of all respondents agreed/strongly agreed (71% competitors, 38% parents/spectators) that “The

Games have inspired me to take part in more sport.” 45% of interviewed volunteers at the 2011 UK School Games were new to volunteering and 97% of interviewed volunteers planned to volunteer again

• Yorkshire – Sea Swim, a swimming club that swims in the sea at Scarborough hold creative post-swim sessions and also initiated community outreach work with schools and young people in Scarborough on their artistic response to sea swimming. It emerged that some children had not swum in the sea or been to the beach before, even though they lived in Scarborough

• Northern Ireland – Connections has encouraged many individuals and communities to believe that they can aspire to great things. For example, the internal evaluation of the Creative Souls project reported increased confidence and interest from participants. In a sample of those taking part:

– at the start of the process 61% felt confident about performing on stage and by the end of the project this figure had increased to 85%

– 69% said they would like to do another music dance and drama combined project, and 100% said they would like follow-up classes.

Employment

5.9 Several programmes provided employment opportunities a result of the funding. Lasting difference has been defined as employment outside these posts. Evidence from individual programmes includes:

• East of England – the overall aim of the Volunteering into Employment project run by Team East for Skills was to get at least 1,300 people nearer or into employment, volunteering or training (achieved 1,546). 641 participants were engaged in employment, further learning, job searching or volunteering by the time they left the programme. In the Screen Team project, 49 young people (not in education, employment or training) were given training in cinema skills/marketing. One participant became the project manager at Screen Team. Half of the 2010 Screen Team intake continues to work for the Cambridge Film Trust and/or the Arts Picturehouse cinema. Of the 2012 intake, four participants went on to further study in media, one to study abroad, two have secured work in cinemas, one has gone on to work in film production and four went on to find other employment.

• Tree of Light – 40 work experience dance students leading performance – some have now acquired jobs teaching dance

• North East – following participation in Generator, one young person has secured a publishing contract, supported a Mercury Prize-nominated artist and been signed by a major record label.

Study

5.10 Only three programmes evidenced lasting difference in relation to studying. However this aspect may not have always been captured in evaluations. Examples include:

• West Midlands – 461

participants are known to have gained (or gained credits towards) formal qualifications through 33 Dancing for the Games projects. Just over half of these qualifications (257) can be attributed to the Street Cheer project. The project worked with young women living in the 25% most deprived areas of the region, supporting many to achieve cheerleading coaching qualifications through a unique, mentor-led ‘train the trainer’ model which has since been rolled out nationally

• Land of Giants –18 students graduated from the 10 month Circus Arts for Employment Course and many have already found professional opportunities

• East of England – Screen Team provided 49 young people with training in cinema skills/marketing. Of the 2012 intake, four participants went on to further study in media and one to study abroad.

Skills leading to increased capacity

5.11 Overall, almost 376,000 people took part in creative learning activities. All programmes were able to present evidence of individuals acquiring a diverse range of skills. Examples include:

• West Midlands – the majority of activity participants either ‘agreed’ or ‘strongly agreed’ that they had gained new knowledge/skills as a result of taking part in projects (78%), and over half of those attending events agreed that they had gained new knowledge/skills (54%)

• Northern Ireland – Into Contact provided enhanced

skills for practitioners, and large pools of experienced dancers have successfully made the transition from students to professional practitioners. As a result of Luminous Soul, disabled dancers were able to move into professional practice and increased the pool of trained and experienced people available locally who can support the further development of integrated dance and disability dance

• Scotland – artistic development was a major focus of The Scottish Project. 47 emerging and less established artists were supported through Conflux’s quarterly Pitch programme, which provides master classes and other training opportunities; a platform for presenting new work and works-in-progress; networking opportunities and business support

• Wales – there is some evidence that the young people involved developed skills in performance, dance, craft making digital technology and music. Artists leading the projects developed skills relating to open-air productions, site specific installations, working collaboratively with other artists they had not previously met, working over a wide geographical scale and with large numbers of people. Event managers learned to work on challenging sites, overcoming health and safety difficulties and were challenged to reach areas of their communities that they had not previously

• Yorkshire – imove had an apprentice producers scheme - six apprentices worked on imove projects and had a

mentor and all are now seeking work as creative producers

• South East – Playground to Podium enabled approximately 200 volunteers/coaches to access training to support the development of new skills in working with disabled people.

Involvement incommunity networks

5.12 At least 11 programmes were able to evidence involvement in stronger and wider social/community networks. Examples include:

• Scotland – Curious set up a Language Café for 40-45 college ESOL students and their children on Saturdays, providing facilities and an art teacher. This is now being run by a committee of students themselves who are looking to increase the activity to include a choir and a walking group

• Yorkshire – the experience of Sea Swim became both highly personal and communal. Individual wellbeing came from exercising in the sea; however, the wellbeing of individuals was also strongly connected to the common experience: ‘I’ve always loved to swim in the sea, but felt self-conscious about it, going out on my own, my friends thinking I was crazy. But by finding this group, I’ve been encouraged to go out more often and I feel accompanied’

• North East – interest in Book Apothecary from other practitioners has led to the creation of a network of approximately twenty artists with shared interests in books and bookmaking. This network will, via collaboration with Gateshead Council, be part of the 2013 Lindisfarne Book Festival.

somewhereto_ © Marc Sethi

Sea Swim © Kippa Matthews

Conflux


Other lasting difference

5.13 As previously outlined, in addition to the lasting differences identified in the Theory of Change and described above, the following additional impacts were evidenced in some of the programmes:

• Increased pride, community spirit, sense of place

• Increased awareness and understanding of disability and increased understanding of other cultures

Increased pride or sense of place

5.14 Several evaluations identified an increase in civic pride, community spirit or sense of place. An increase in civic pride or a greater ‘sense of place’ was particularly evident in relation to the large outdoor events. Smaller community-based events were seen as contributing to increased community spirit. Evidence includes:

• Land of Giants – the evaluation identified sense of ownership/pride as key theme

“It made me proud to be involved and proud to be living in Northern Ireland!” (drummer)

“Challenged my ideas of what we could achieve in Belfast.” (choir member)

“A belief in a better Belfast. Increased pride in myself as a resident of Northern Ireland.” (choir member)

“The event has given me great appreciation of the talent of local people and encouraged me to feel that we in Northern Ireland have to create a new common history.” (choir member)

• Wales – ‘the real value of Power of the Flame was the act of coming together as a community to remind each other about who we are and where we’ve come from’

• West Midlands – evidence suggests the 601 Community Games events have helped make people feel more positive about their community, with many participants reporting an increase in civic pride (76%).

“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”

Organiser, Birdingbury Community Games

• North West – the Lakes Alive evaluation presents ‘compelling evidence of extent to which the project has re-orientated residents and visitors to places in which events have taken place. This year 85% of audiences indicated that event/s attended made feel more positive about area’

• Yorkshire – Over 200 local Bradford people shared their stories of life in the city’s mills during the hey-day of city’s industrial heritage. Their stories helped create The Mill – City of Dreams, a touching promenade theatre performance through the shell of a disused Bradford mill, with ex-mill workers as part of the community cast.

“For the first time in my life, I feel proud to be a Bradfordian” (audience member)

Increased awareness and understanding of disabilityand increased understandingof other cultures

5.15 Difference in relation to levels of awareness and understanding were highlighted in other programme evaluations:

• South East – many of Accentuate’s programme activities aimed to increase awareness and understanding of disability. The importance of this is illustrated by the following quote:

“Many of these programmes have engaged young people – disabled and non-disabled – and have, I believe, created experiences that will leave a legacy in terms of young people’s understanding of what it means; the lived experience of having impairments and chronic health conditions of various sorts. I think this will combat prejudice and influence how those individuals will view disabled people in the future.”

Colin Hambrook, Our View Core Group

• East Midlands – the evaluation reported that ‘there are excellent examples of projects which succeeded in increasing knowledge of international cultures. Best example – World Event Young Artists (WEYA) which engaged young participants from almost 100 countries and assisted in increasing understanding and appreciation of other cultures.’

Cycle Song© Tony Batholomew


Focus on young, disabled, and hard to reach people

5.16 All programmes engaged with children and young people and involved with over one million in total. Programme emphasis ranged from NE Generation, Tate Movie and somewhereto_ – where the prime focus was children and young people – to Speed of Light, with a relatively small proportion of participants being young people. Data submitted to the Cultural Olympiad evaluation (covering the majority of projects) showed that for those where age was known, almost two thirds (66%) of participants were under 25, with almost half (45%) being under 18.

5.17 Several programme had projects focusing on disabled people and it was the primary focus of Accentuate in the South East. Across all programmes, it is estimated that over 75,000 participants were disabled; accounting for 5.5% of all participants (this includes some estimates based on survey data). However for many programmes the percentage of disabled participants was very low (1 or 2%) – it appears that unless a specific focus is given to disabled participants or artists, barriers are such that participation remains low. Almost all disabled artists were involved in Accentuate projects.

Four examples of programmes with a focus on disabled people are:

• South East – Accentuate provided many opportunities, for example enabling 270 disabled creatives to participate in regional and national showcases

• Northern Ireland – the programme evaluation found that notable contributions have been made to increasing opportunities for disabled people to take part in dance. For example, disabled dancers have been able to move into professional practice and this increased the pool of trained and experienced people available locally who can support the further development of integrated dance and disability dance: “a boy with Downs syndrome who took part in the Creative Souls project wowed the audience with his break-dancing skills and was subsequently invited to take part regularly as a dancer in other productions”

• Tree of Light – 10 severely disabled people were involved in the final performance. The participants were a diverse range of people including a dance group with learning difficulties, three SEN Schools for pupils with severe physical and learning difficulties. The inclusion of the two special schools – Addington Special School with Maiden Erlegh School – was cited as an excellent example of integration which will result in future collaborations

• Wales – Whose Flame Is It Anyway, led by Disability Arts Cymru, focused on the development of individual artists throughout Wales. Practitioners and performers worked with 600 new and emerging young disabled actors, dancers, visual artists and musicians.

5.18 There is significant evidence that many programmes were successful in involving ‘hard to reach’ individuals. Examples include:

• Tate Movie – of the 35 Gallery Tour partners surveyed, only one did not feel that the groups that had taken part were hard to reach, and this was because they had already forged strong links with the local school population and all had visited their gallery in the last three years. The evaluation reported that the vast majority (82%) of partners felt that the truck tour had successfully engaged hard to reach audiences: “This experience was, therefore, a fantastic project for a small rural school to have been included in, and one which they would not normally have been considered for due to the size of the school and the location. The Service and the School certainly appreciate the effort involved to include us in the project instead of going for the easy option of limiting the visit to only Dundee schools.”

• Wales – Four out of the five projects had Wales-wide coverage, which helped ensure that Power of the Flame visited and inspired people in all parts of the country. The eight Cadw sites that served as bases for Cauldrons and Furnaces ensured that diverse communities – from the valleys communities of Blaenavon and Caerphilly to the coastal towns of Flint and Harlech in the north – were involved

• North West – Lakes Alive banquet events appear to have been particularly accessible to people residing in both deprived areas and isolated communities with a third of audiences living in areas ranked within the 20% most deprived nationally and one in seven residing in hamlets or isolated dwellings

• London – Big Dance – East London Dance are exploring how they can continue a number of the partnerships made during the project Tomorrow’s Men and are supporting two of the Pupil Referral Units (PRUs) to develop funding applications to continue the work

East London Dance, Capital Age Festival and Southbank Centre led two pan-London older people’s programmes for Big Dance 2010 and 2012. In 2010 they worked with 85 older people to develop Dancing stAGE – performed at the Clore Ballroom during Big Dance Week 2010. The programme also included dance workshops in residential settings for frailer older people who were invited as VIPs to the final performance. In 2012, the same team led an older people’s dance and choir project. Performed in the Queen Elizabeth Hall, the piece charted social history and dance styles from the last London Olympics in 1948 to the present day

• North East – NE Generation was able to successfully engage a wide range of young people including those at risk of social exclusion whose access to cultural provision has been limited. For example:

– Tech-Max focused solely on engaging ‘looked after’ children and young people, and those leaving the care system

– CultuRISE in Newcastle played host to a group of young people drawn from BME groups – including those recently arriving in the region from parts of Africa

– In a workshop at the 2012 Residential Weekend, a group of young Muslim women discussed how participation in their respective projects had given them opportunities that reflected, and did not clash, with their cultural and religious values.

5.19 There was some information on the challenges of engaging communities. For example, recruitment was identified as the single greatest challenge of Games Time in the East

Midlands. “In a region where there is limited arts activity and little experience of participation, it requires effort, time and determination to win hearts and minds. The most successful recruitment was realised by word of mouth – group leaders, teachers and other community leaders were effective in encouraging participation. A type of “pack mentality” was observed among young people, meaning that initial group enthusiasm waned and evaporated if the leader would not or could not commit.”

Perceived link with Olympics

5.20 The perceived link with the Olympics appears greater in some programmes than others. The strongest evidence is in programmes where there was the greatest synergy with the Cultural Olympiad programme, particularly in the West Midlands and East Midlands:

• West Midlands – during 2012 there was a significant increase in participants’ awareness that projects were part of the London 2012 Games. In 2012, the majority of participants were aware that projects were linked to London 2012 (82%), compared to just under half of participants pre-2012 (43%)

• East Midlands – 65% of respondents stated that they ‘strongly agreed’ or ‘agreed’ with the statement ‘I feel more aware of the Cultural Olympiad’ since attending the event. This is in comparison to 46% last year, showing an increase in awareness building.

Land of Giants © Michael BradleyLakes Alive


6.1 The Theory of Change showing how the Trust’s funding might contribute to lasting difference to organisations and communities is set out overleaf. This suggests that the main aim is to build capacity to produce high quality work, deliver events and increase participation and that the following are indicators of lasting difference or impact:

• New organisations created

• New programmes and activities designed to reach new audience

• Increased recognition/awareness of organisation and its skills

• Knowledge and systems in place to reach new audiences

• New technology skills (and equipment)

• Greater/more diverse skills of staff/volunteers

• New informal networks beyond traditional boundaries

• Funding secured from new sources

6.2 Given that the Theory of Change was applied retrospectively to identify relevant indicators for this overall evaluation, the individual programme evaluations may not have collected data on all these indicators. This meant it was not always possible to assess whether an impact had not been achieved, or whether there was simply a lack of data to evidence it. A review of the documentation has also identified some additional impacts for organisations, which were not originally identified in the Theory of Change, predominantly linked to developing approaches and working practices.

6.3 The extent to which organisational impact was a focus for programmes varied. Whilst it was not a focus of the UK wide programmes, some regions made influencing other organisations to bring about change a primary focus (South East/Accentuate related

to disability, North East/NE Generation in relation to young people). A third group of programmes evidenced a significant difference in relation to organisations involved in managing programmes or leading delivery.

6.4 All programmes apart from the UK School Games present evidence of organisational impact. The evidence in relation to each of the indicators is considered below.

Impact for organisations and communities

Key findings •Thereisevidenceofimpactorlastingdifferencefororganisations,spanningalmostallprogrammes

•Severalneworganisationshavebeencreatedandnurtured

•Newprogrammesandactivitieshavebeendesignedtoimprovereach,supportedbydevelopingnewnetworks, cross-sector activities and sense of place

•Capacityhasbeenbuiltbydevelopingskillsandknowledgeofstaffandvolunteers,aswellasindevelopingknowledge and systems to continue reaching new audiences

•Newfundinghasbeensecuredbymanyorganisations,enablingmanytodevelopandcontinueactivities.


To what extent has there been a ‘lasting difference’ for organisations and communities?

Legacy Trust UK funding has

supported almost

11,000emerging artists

Exchanging Worlds© Marc Sethi


deepening and diversifying of audiences as discussed in Section 2, and drawing on identity, place, and trust as key drivers of cultural participation and engagement.

6.7 There are many examples of new “products”, often combining arts and sport together. There is also an emphasis on outdoor arts and activities in unusual places, to increase engagement. This has been a particular feature of the imove programme, with projects including:

• The Grey Fox Trophy, part of Runs on the Board, being established as part of Yorkshire County Cricket Club’s annual match timetable and a part of its community engagement programme.

• Aqua-Kathak has been created as a new activity for all ages and abilities.

• Stanza Stones created a 47km permanent trail of stones carved with the words of poet Simon Armitage stretching across the Pennines to be experienced by walkers of the Pennine Way.

6.8 Evidence of improving reach from other programmes includes:

• The Scottish Project – most venues interviewed as part of the evaluation intimated that the Human Race exhibition had brought new audiences and the potential for people’s engagement to be lasting:

“It has given us a high profile exhibition and the mixture of sport in a gallery has brought a slightly different audience into our venue.”

“This brought people to the university who had never been before”

• Northern Ireland – Beam Creative Network, which ran

ImagineAction, has seen a major expansion in its work, likely to leave a legacy of the establishment of a thriving young people’s performing arts group whose members three years ago were attending the centre to play Gaelic football and other sports but were not involved in the arts

• Wales – Through Power of the Flame, Disability Arts Cymru has increased its engagement with disabled young people via schools and colleges

• South West – RELAYS provides an innovative approach to engaging young people.

“It shows an effective way of how to engage with young people using sport and the arts with a view to inspire. The project demonstrates how it can be used as ‘hook’ for young people who may go on to seek further/higher education.”

“Through the contacts made in education and through sporting partners, exciting projects can run that show HE in a more exciting way.”

“The work we’ve been doing with citizen journalism has been recognised as having the capacity to reach a wide range of people who universities would find it difficult to reach on their own. The model we are using offers an innovative approach to the widening participation unit at Universities”

“Legacy Trust UK funding enabled the ‘wow’ events such as Illuminate Bath. This took the university into the community and the whole of Bath was involved”

• Tree of Light – dance for primary school pupils - schools intend to do more creative learning as a result and pay for it themselves:

“We have been so inspired by the project that we are hoping to plan a community arts project and will seek to engage with creative artists, local if possible and work with the community to develop a joint school-community arts project”

(Piggott School teacher, Henley)

• London – Big Dance ran a micro grants programme offering 150 grants of £1000. The funding aimed to support dance activity in every London borough. The collective programme reached almost 15,000 participants and 58,000 audiences. Projects included workshops in hospitals, local community performances, showcases, dance photography, critiquing dance and dance on bicycles.

6.9 There is evidence that these approaches have been successful in engaging new participants and audiences:

• Games Time – at least 40% of participants surveyed had never participated in arts activities before Games Time. Over 95% had never been involved in performance on this scale

• West Midlands – it is estimated that around 22% of participants/audience members had never/rarely previously participated in the form of culture that they engaged with during projects, with around 1 in 8 (13%) stating that they ‘never’ participated prior to projects.

• North West – Lakes Alive audiences came from every district in Cumbria, as well as from each UK nation and from each English Government Office Region. The programme in 2012 year attracted more than 17,000 new audiences,

New organisations created

6.5 At least six programmes can evidence the establishment of new organisations as a result of Trust funding. Examples include:

• Abandon Normal Devices (AND) has developed a clear and strong identity in the North West region. In 2013 and onwards AND aims to increase its national and international profile, revising its business plan so that it can diversify the festival’s income, maximising the partnerships it has developed spanning arts, science, higher education and the creative industries

• imove Arts Ltd is set up as a new cultural organisation in Yorkshire. imove has itself spawned new organisations such as Sea Swim which has established in Scarborough with a two year lease on beach huts supported by Scarborough Council. It is working towards establishing the project in other locations, in partnership with major galleries

• In Scotland Conflux has become an independent organisation and is supporting the development of cultural infrastructure in Scotland

• In the North East - funding from NE Generation for Urban Games and Hip

Hop helped to create Solar Learning, a social enterprise that has trained young people who themselves now deliver activities similar to those delivered by the project (including breakdancing, DJing and turntablism, MCing and rapping, parkour, skateboarding, BMXing and basketball).

New programmesand activities toimprove reach

6.6 The majority of programmes presented evidence of new programmes and activities to improve reach. These include examples of broadening,

Outcomes for organisations involved in LTUK funded projects

New organisations created

New programmes and activities designed to reach new audiences

Increased recognition/awareness of organisation and its skills

Knowledge & systems in place to reach new audiences/increase influence

New technology skills (and equipment)

Greater/more diverse skills of staff/volunteers

New informal networks beyond traditional boundaries

Funding secured from new sources

Increase in capacity to produce good work/ deliver events/activities & reach target audiences

A lasting difference for organisations involved

Theory of Change 2: A lasting difference for delivery organisations


New technology skills and equipment

6.12 Trust funding has led to the development of new technology skills and equipment. Examples include:

• Speed of Light – the development of the project has enabled NVA to design and produce bespoke and innovative technical resources including 140 light suits, 880 light staffs and DMX controls to support remote programming, enabling the work to be represented for different contexts in the UK and internationally.

• North West – The WE PLAY evaluation reported that:

“AND has strengthened expertise in areas of digital media”

• South East – uScreen developed ground-breaking technology to create a cutting edge accessible website, providing young Deaf and disabled people (and non-disabled people) opportunities in film-making

• Yorkshire – imove has developed new technology in the area of motion capture.

Skills of staffand volunteers

6.13 This was not a major feature with only six programmes presenting evidence – or it may be that this was not a focus of evaluations. While Section 5 identified benefits of skills development to individuals the level of benefit to organisations of volunteering and skills development is not always apparent, perhaps due to the ‘event-based’ volunteering model that most projects adopted. Such examples of evidence of benefit to organisations of increased skills include:

• Scotland – potential of Curious includes increased skills and knowledge of project staff and curators in Glasgow Museums. The Scottish Project also had a mentoring/skills development fund for all Scottish project managers to access training

• North West – the independent evaluation states that programme strengthened the skills base and capacity of regional artists and producers

• East of England – Legacy Trust UK funding has enabled Cambridge Film Trust, which led the Screen Team project, to develop as an organisation by providing progression and professional development opportunities for staff.

New networks

6.14 Almost all programmes were able to evidence the development of new networks and partnerships beyond traditional boundaries with resulting benefits. Examples include:

• Wales – new partnerships with schools and colleges are seen as being an important outcome from Power of the Flame, both for lead organisations and other partners involved in delivery.

• Cadw (national heritage organisation) is now running arts projects and has developed a concordat with Arts Council Wales as a result of their partnership in delivering Cauldrons and Furnaces

• North West – over 400 new partnerships have been forged, over half of which involved new artistic collaborations. The significant majority of these partnerships (356 in total) have

been amongst individuals and organisations within the region, and a quarter have involved partners from outside the arts and cultural sector.

New funding

6.15 At least 13 programmes are able to evidence funding secured for organisations from new sources, including from the private sector. Some significant examples include:

• somewhereto_ has been awarded £7m by Big Lottery Fund to support its expansion

• West Midlands – Community Games rolled out across England in the spring of 2012, having successfully secured a grant of £2 million from the Social Action Fund

• North East – based on the success of Time Travel Northumberland, and a strong commitment to embedding opportunities for young people, Woodhorn Colliery and Museum joined a consortium (including Northumberland County Council, Northumberland College and Connect4Change) that submitted a successful £2.5m young-people focused funding application to the Arts Council England’s Creative People and Places Fund, to develop cultural infrastructure and provision in south-east Northumberland. The proposed project will be collaborative and participative (with local young people working with professional artists) and thus ensure that the NE-Generation approach is sustained

• Yorkshire – almost all imove projects have succeeded in securing funding from other sources – those applying

over 80% of who stated they would be very likely to attend another Lakes Alive event in the future.

Increased recognition

6.10 At least 12 programmes are able to demonstrate improved recognition for organisations, as evidenced by awards and new commissions. Examples include:

• Speed of Light has positioned NVA as a major player internationally with interest and offers from all over the world and was invited to partner with the British Council in presenting and discussing the work at Smart Illumination Yokohama in November 2012. This is the first in a series of presentations through which NVA will collaborate and respond to cultures and environments across the UK and internationally

• North West – AND has developed a clear and strong identity in the region. For digital artists and film makers it is already a must attend event in the calendar of film and digital festivals. In 2013 and onwards AND aims to increase its national and international profile as it goes forward, using its multi-disciplinary approach to help diversify income and build it partnerships.

• Northern Ireland – Echo Echo, who delivered Into Contact,

are positioned to play a major role in Derry City of Culture 2013. Echo Echo’s profile has risen due to the quality and uniqueness of programmes supported by Legacy Trust UK. Through the Connections programme the company has clearly demonstrated its ability to manage major programmes and this has contributed greatly to securing capital resources to open a new dance studio in Derry in 2013, with £300,000 secured

• South East – uScreen (which allows young Deaf and disabled people to make, show and share through film) won an Ability Media International award for innovation.

Knowledge and systemsin place to reachnew audiences

6.11 As well as programmes and activities to reach new audiences, there is some evidence that knowledge and systems in relation to reaching new audiences have been developed:

• South East – Accentuate has supported the development of a range of resources and toolkits related to delivering heritage events accessible to wide range of people as well as a toolkit on delivering accessible street arts

• Games Time – due to the enormous recruitment drive to encourage participants in

the programme, Deda has built up significant intelligence regarding the regional arts, education and community organisations, which will underpin its future marketing and recruitment strategies

• Wales – Power of the Flame included a specific aim of developing a model of engagement for disabled people which can be replicated and built on by Disability Arts Cymru

• West Midlands – organisations have developed models and methodologies that are set to be replicated in future. Examples included:

– Birmingham Royal Ballet (Ballet, Birmingham & Me) established a Youth Artistic Board that feeds into plans for future work with young people

– The Street Games (Street Cheer) ‘train-the-trainer’ model is now enshrined in the day to day work of Street Games across the country, and will be included in the new ‘Doorstep Sports Clubs’ initiative, which includes a pool of Doorstep Sport Advisors who provide a friendly and expert mentoring role (akin to the mentoring role that was central to Street Cheer)

– Mac (We Dance) after the success of the initiative during the final We Dance festival, Mac is continuing to offer volunteer placements to people with a learning disability.

Games Time © Kev Ryan somewhereto_ © Finn Taylor


to Grants for the Arts (Arts Council England’s lottery funding) have had 100% success. Feedback has shown that projects were considered well developed

• South West – 18 out of 25 partners said they had raised funds as a result of being part of the RELAYS partnership. Examples include Falmouth University (raised £1,230,000); University of the West of England (raised £340,000 from Department of Business Innovation and Skills); the Works raised approximately £100,000 from business sponsorship, trusts and foundations, box office income; University of Bath raised £20,000 per annum from Roper Rhodes Bathrooms Ltd.

• UK School Games attracted £1m from Sainsbury’s

• Big Dance was sponsored by T Mobile, bringing in £505,000

• Tate Movie received £750,000 from BP

6.16 The evaluation identified some additional positive impacts for organisations, which had not been identified upfront as part of the Theory of Change:

New approaches and changes in working practice

6.17 Some programmes had a clear focus on changing working practice, including NE Generation on working with young people in the North East and Accentuate on working with Deaf and disabled people in the South East

• North East – “The evaluation has identified a number of organisations that have experienced important

transformations associated with engaging young people via NE-Generation. These organisations have developed new approaches to engage young people as a result of their involvement in the programme. For example – Time Travel Northumberland- much greater engagement with archives opened up, range of exhibitions more user generated. The CultuRISE project has led to plans to create a youth panel to inform and influence the activities of Tyne and Wear Archives and Museums.”

• South East – Accentuate has

– supported access audits leading to improvements in 40 key destination sites and six key transport hubs for the benefit of disabled visitors

– supported organisations such as the Explosion! Museum of Naval Firepower and the Submarine Museum to build links with local disabled people including veterans from St Dunstan’s and improved their offer through handling events and BSL interpreted tours

– led to access being written into constitutions for Heritage Open Days (HODs) in Gosport and Hastings and the access issue were more embedded within local heritage groups.

“I am confident that the HODs programme has been influenced by the Accentuate work.”

Andy Brown, Regional Director, English Heritage

6.18 Other examples of changes in working practice include:

• somewhereto_ – use of space for young people – transforming space into place to develop entrepreneurial skills

• Yorkshire – success of imove producer-led way of working, enabling greater risk taking and resulting in an ambitious, coherent, diverse programme (and more developed projects applying for Grants for the Arts funding)

• Scotland – Curious employed an unusual approach to curation which has the potential to inform future practice in Glasgow Museums and more widely. Through Curious, Glasgow Museums has, for the first time, enabled members of the public to select exhibition content, develop the exhibition text and arrange the exhibition. There is some evidence that this is becoming a more significant part of the Glasgow Museums’ approach. It already seems to be shaping the tone of exhibitions, and who (and how) it involves in object selection and interpretation. Museum curators are also being trained in community engagement processes.

6.19 There is evidence in some programmes that partnerships with larger organisations are more challenging and that those with smaller organisations can be more flexible and better sustained due to greater flexibility – but may have less potential impact.

UK School Games

Accentuate© SPUN Prodcuctions


7.1 This section considers lasting difference or impact at a more strategic level, i.e. wider level than individuals, individual organisations or communities. Indicators of this could include:

• Funder attitudes to culture/sport/participation shifted

• Recognition for Deaf and disabled artists

• Influenced cultural provision linked to international sporting events

• Inspiration for communities to produce own work

• Skills increase in particular industries/sectors

• Development of digital skill/media

• Leveraged funding

7.2 The Theory of Change for strategic impact is outlined in the full report, available on the Legacy Trust UK website.

Making a lasting strategic difference was described as a secondary outcome for LTUK. Programme documentation, including external evaluations has been reviewed for evidence of strategic impact and extracts are also available online. Given that the Theory of Change is being applied retrospectively, information related to the relevant indicators may not have been collected in the evaluations. In general it is therefore not possible to assess whether a particular impact has not been achieved or evidence has not been presented.

7.3 Review of the documentation has identified some additional indicators of strategic impact, such as evidence of contribution to economic activity (including the tourism sector) and increasing ambition and confidence of sector.

7.4 In general there is less evidence that programmes demonstrated strategic difference than organisational or individual difference.

Funder attitudes toculture/participation

7.5 The strongest evidence of a shift in funders’ attitudes is from the East Midlands. East Lindsey District Council, based on its experiences of the last three years of SO Festivals, London 2012 Open Weekends and of the Torch Relay, has committed itself to a substantial investment in a new three year programme of cultural regeneration in partnership with the public and private sectors. In addition, the Arts Council England and the Derbyshire and Nottinghamshire Local Enterprise Partnership (D2N2) have partnered up to pilot a significant

Impact – lasting strategic difference

Key findings •ThereisevidencethattheTrust’sprogrammehascontributedtosectordevelopmentindance,outdoorarts,physical

performance, community-based sporting activity and new technology/digital media

•Thereisextensiveevidenceofleverageoffunding(£55.6millionintotal)includingfromtheprivatesector

•Insomeareasthereissignificantevidencethatprogrammeshavecontributedtothelocaleconomy,particularlythroughtourism

•Thereissomeevidencethattheprogrammehasledtoachangeinfunders’attitudestocultureandparticipation although this is an area requiring further assessment in the future

•ThereissomeevidenceofincreasedrecognitionforDeafanddisabledartists,particularlyinareaswherethiswas a specific programme focus

•Theprogrammeappearstohaveincreasedtheambitionandconfidenceofthesector


To what extent has there been a lasting strategic difference?

Night of Festivals© Mandinga Arts


Britain in May 2013. Seed funding acted as a major catalyst to secure the Great East Swim event for a number of years, supported to significant levels by public sector partners with delivery from a professional commercial body.

7.14 There has been significant development of new technology including digital skills and media, most notably through AND in the North West. Other examples of new technology development include Speed of Light and uScreen.

Leveraged funding

7.15 In addition to Legacy Trust UK funding, programmes had raised an additional £55.6 million. The following table shows the breakdown of the funding by type that was collectively raised by programmes:

7.16 Other types of investment and leverage were achieved by the programmes. An example of private sector investment is somewhereto_ which has negotiated 3,152 matches,

equivalent to £2.1m in premises costs. In addition it has been offered space from the government estate and has been presented as a case study in the Giving White Paper. Big Dance in London, UK School Games and Tate Movie all levered in funding from the private sector.

Contribution to economic growth and tourism

7.17 Some programmes had a particular emphasis on skills and employment such as Eastern Rising in the East of England and RELAYS in the South West.

• In the East of England, the Volunteering into Employment project used London 2012 to inspire people who weren’t involved in any training or employment to improve their skills, volunteer and progress into employment or further training. The programme supported over 1,500 individuals to find a pathway to training, education, employment and volunteering

• In the South West, the RELAYS business programme strand sought to enable businesses in the region to maximise opportunities presented by London 2012. Activities increased understanding of how large scale sports and cultural events can have an impact on business, and how to plan in order to maximise this, as well as increasing awareness of support services that can be provided by Higher Education Institutions to benefit businesses and communities.

7.18 Many others documented links between cultural activity and tourism

• North West –

“WE PLAY’s impact on the regional economy has been considerable. The investment of £3.02 million from Legacy Trust UK and £1.56 million from Arts Council England has levered a further investment of £5.3 million from public, private and corporate sources and generated in excess of £10.5 million in additional visitor spend within the North West’s regional economy. These visitors have contributed an estimated 230,000 additional bed nights to the region’s tourist economy over the last four years.

“Specifically Lakes Alive has had economic impact and played a role as a tourism driver. Almost three quarters of audiences from outside the region and two thirds of those from overseas indicated that

investment in cultural tourism, Elemental Force. Three cities in the region – Derby, Leicester and Nottingham – are contemplating whether to apply to be a UK City of Culture. Derbyshire is looking to deliver its own Year of Culture in 2015.

7.6 Evidence also suggests that local authorities in Wales found a “new impetus in terms of planning for arts and heritage projects” through Cauldrons and Furnaces by offering new partners, resources and venues for provision. However, it remains to be seen whether the experience of the programme results in a change in funding policy and practice by other local authorities or Arts Council Wales and this could be an area to assess further in the future.

Recognition for Deaf and disabled artists

7.7 In the South East about one third of projects in the Cultural Olympiad brochure linked to the Accentuate programme - and there were many more references to Deaf and disabled artists compared with those produced in other regions. In Northern Ireland the Luminous Soul project raised the profile of integrated dance and disability dance.

Cultural provisionlinked to internationalsporting events

7.8 There is no evidence of cultural provision yet becoming linked to international sporting events. It is not clear if this has not yet occurred or if it has not been captured by the various evaluations. It may be that in the future major national and international events hosted in the UK will look to the success of the Cultural Olympiad and LTUK funding to engage with communities and this could be further assessed.

Sectoral development

7.9 There is evidence of sector development covering:

• dance

• outdoor arts

• physical performance

• community-based sporting activity

• new technology including digital skills/media.

7.10 Significant development of the dance sector took place, particularly in the West Midlands, London and Northern Ireland. In the West Midlands the programme engaged large numbers of dance organisations, encouraged successful partnerships and raised the ambition and aspiration of a number of dance organisations to create new work for different spaces resulting in new expertise and knowledge.

7.11 Outdoor arts were a major feature of the Trust’s programmes, including the Community Celebrations strand. In Northern Ireland, Land of Giants ‘has raised

the bar in relation to outdoor arts – people didn’t think anything so ambitious could happen in Northern Ireland’. In Wales it is felt that there has been a step change in working in the open air, particularly at heritage sites. Speed of Light in Scotland offered a model for outdoor event which minimised infrastructure on site and included energy harvesting elements within the technology which has the potential to influence best practice in outdoor lighting presentations. In the West Midlands knowledge of producing outdoor (free) events including audience development has informed Arts Council England’s research plans.

7.12 Physical performance – in Scotland

“Conflux has had strategic importance in the physical performance sector, as evidenced by the strategy for membership organisation ‘Articulation’.” The programme evaluation concludes that cultural infrastructure has been improved in Scotland, not least through partnership development.

7.13 Trust funding has contributed to establishing sporting activity, including major sporting events in the East of England, the national roll-out of Community Games and the further establishment of the UK School Games, now the Sainsbury’s School Games. In the Eastern Region, using the inspiration and spectacle of professional cycling races, a number of local authorities received support to present activities to encourage people to become more active and more engaged with their community. This is continuing, with Colchester chosen as one of the venues for the Tour of

Couldrons and Furnaces

Big Dance © Getty Images

Tate Movie

SourceAmount Secured £

Public funding

Lottery money

Private sector / sponsorship

ACE Grants for the Arts

Trusts and foundations

Revenue

Total

35,349,819

7,330,353

5,954,880

5,497,137

869,093

686,411

55,687,693


the events they attended were either their main reason or one of several reasons for being in the area. These findings continue to illustrate the role that Lakes Alive events have in drawing visitors to the region. The total audience contribution to the Cumbrian economy across all Lakes Alive events this year was in the region of £2.38 million”

• East Midlands – the evaluation acknowledges the link with tourism. Also 18 businesses have improved performance with a combined GVA (gross value added) increase of £374,614 and six new businesses have been created or attracted to the region as a result of the Cultural Innovation strand

• South East – Accentuate supported access audits leading to improvements in 40 key destination sites and six key transport hubs for the benefit of disabled visitors which contributed to an additional 79,000 people at visitor and cultural destinations and 4,600 visitors at accommodation. Tourism South East felt that a major investment of £2.5m on improvements to the rail infrastructure in Buckinghamshire was heavily influenced by the access audit.

7.19 In 2011, the West Midlands for 2012 team designed and developed an Economic Impact Toolkit resource (www.eitoolkit.org.uk) – a series of online calculators which support users to estimate the impact of UK-based cultural events and activities. With 518 registered users, the resource has proved popular with cultural sector practitioners across the UK.

Increasing ambition and confidence of sector

7.20 East Midlands report that the increase in confidence within the sector has been evidenced through the ambition that is now being shown by cities and organisations as a result of the programme. There has been an increase in the number of strategic touring proposals submitted to Arts Council England and the city of Leicester is bidding to become the UK’s 2017 UK City of Culture. Derbyshire is looking to deliver its own Year of Culture in 2015. The success of Derby Festé in 2010 and the 2012 World Event Young Artists in Nottingham has resulted in a UK biennale being established, which will continue with other international events going forward including Leicester 2014 and Derby 2016.

Furthermore, UK Young Artists (UKYA) have established as an independent organisation based at Nottingham Trent University and will continue to establish international partnerships and send UK artists to events in Europe and beyond. There has been a major increase in the quality of international work brought into and created within the region, together with the establishment of annual events in the cultural calendar and memorable experiences for audiences which have left them wanting to see more events of the same calibre. Plans and fundraising for future projects of scale are well advanced and the region has become a major player in this field.

7.21 In the West Midlands, feedback from several project managers suggests that some organisations

put on more ambitious work than previously, reached a wider geographical audience and achieved a more prominent media profile. 81% of Dancing for the Games projects reported that being part of the Cultural Olympiad had ‘increased the ambition/scope of the project’. In some cases, this may have been partly associated with the level of funding:

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

Project manager, hr1

7.22 In data collected for the Cultural Olympiad evaluation when programmes were asked about the benefits of Legacy Trust UK funding, the most popular answer was ‘increased the ambition/scope of our project.’

Luminous Soul© Donal McCann


Introduction

8.1 The Trust has now completed the majority of its funded programmes. This section presents subsequent efforts to continue to further build the legacy in 2013 including:

• the Trust’s funding of ‘Transition’ projects to build sustainability and its research with young people

• potential for sharing learning

• programme legacy.

Transition projects

8.2 Legacy Trust UK is continuing to support six key projects from across the UK. This funding aims to help projects to capitalise on their work which took place in the lead up to and during the London 2012 Olympic and Paralympic Games, as they move forward into 2013 and beyond. The additional funding is being invested in development and sustainability between September 2012 and September 2013 and will be reported on in autumn 2013.

8.3 Funding of £1.1m in total has been awarded to the following projects:

• Abandon Normal Devices in the North West – to continue to develop as the UK’s most exciting new cinema and digital festival. It is also developing a new programme strand based on its expertise in building cross sector partnerships

• Accentuate in the South East, inspired by the Paralympic Movement. Accentuate is now building on three very successful years challenging the perception of disability in the arts and with the Trust’s

support is developing two of its flagship projects, uScreen and Creative Landscapes, to establish itself nationally

• CREATE in east London, which brings art into the parks, playgrounds and rooftops of the capital. Support will ensure that CREATE can commission long term projects ensuring an on-going cultural legacy in the Olympic host boroughs

• In Yorkshire, imove, a celebration of human movement, is becoming an independent organisation (imove Arts Ltd) supporting the growth and sustainability of four of its participatory projects. It will also work to create a new festival for 2014, continuing to place movement and creativity in often surprising rural and urban places

• RELAYS (Regional Educational Legacy in Arts and Youth Sport) is focusing on its success in working with universities to provide unique opportunities across the South West. Its projects promote inclusivity and raise the educational aspirations of young people from all backgrounds and this learning and expertise is

now being embedded in all HEI widening participation departments in the region

• Norfolk and Norwich Festival in the East of England, which will undertake research and development of a mass participation rural spectacular with Wildworks for a performance at their festival in 2014.

Young people research

8.4 The Games aimed to “inspire a generation”. Legacy Trust UK has commissioned research on the legacy from London 2012 to date for young people across the UK, to enable young people to have voice in the legacy discussions and put across their views directly to policy makers. It will draw on evidence to look critically at whether young people are truly inspired as result of the Games and ask what is needed to move from inspiration into action for young people.

8.5 The research is being carried out by Neilson and will be presented in April. The methodology included focus groups with young people that took part in LTUK’s projects, focus groups with those that did not take part in a London 2012-inspired project and a quantitative online survey. Some of the initial findings from across the study show that London 2012 was considered an overwhelming success, and is thought to have changed the UK for the better. Other findings include:

• The impact has reached beyond sport, to include art, music and fashion, and showcasing British culture

• One particularly important legacy is thought to be the improved tolerance and understanding for people with disabilities. Many believe it is essential that this continue. 68% of survey respondents felt inspired by the Paralympians

• For art and culture, the legacy is expected to come from improved attitudes, more highly skilled individuals, wider acceptance of it as a career path and, importantly, greater collaboration between young people and arts organisations (65% of survey respondents involved in the Games are more likely to join a local arts/cultural groups as a result).

8.6 Looking more specifically at the responses from young people who participated in LTUK projects, a number of interesting findings included:

• Unity within projects in the belief that participation in their project/programme has had a huge impact on them

• Many young people described it as a life-changing experience/a once in a lifetime opportunity

• They have grown and matured, have greater self-respect and confidence, a ‘can do’ attitude, new horizons

• There was a sense that adults have learnt to see what young people can do and respect young people for making a contribution

• Most hope that the legacy will be nurtured and that the LTUK projects will continue to be funded. Though they were concerned that the loss of projects will not only affect them, but also future generations. Loss of funding was especially keenly felt amongst disability groups for whose members the work is perceived as a lifeline.

Sharing learning

8.7 There are a number of areas where there is significant potential to share learning with other funders and stakeholders including:

• benefits of the Trust’s model

• early development of a Theory of Change

• use of the updated Legacy Standard

• programme related learning, particularly on engagement

Each of these is considered briefly below.

8.8 As presented in Section 3, the Trust’s model is a highly effective one. As an independent charitable trust, it has successfully delivered a UK wide programme with strong regional buy-in, an emphasis on partnership and funding amounts agreed up front, investing in ideas spanning community engagement and quality. It has operated as an supportive funder, investing in relationships and embedding programme management in host


Key findings •LegacyTrustUKiscontinuingtobuilditslegacythroughfundinganumberof‘transition’projectsandexploring

young people’s views on legacy

•Thereissignificantpotentialtosharelearningoncreatinglegacyorlastingdifference,includingthebenefitsofthe LTUK model, early development of a Theory of Change and use of the updated Legacy Standard

•Thelegacyfromfundedprogrammesisstrong,withawiderangeofactivitycontinuingacrosstheUKin2013andbeyond.

Projects have secured

£55.6millionin match funding


Continued activity by programmes

8.12 The majority of national and regional programmes are able to evidence continued activity in 2013:

• UK School Games has evolved into the Sainsbury’s School Games. Building on the success of the inaugural finals held in the Olympic Park in 2012, the Sainsbury’s 2013 School Games are being held in the city of Sheffield from 12-15 September

• Speed of Light was commissioned to appear in Yokohoma, Japan in November 2012. The project has also been in talks with partners in Germany, Brazil and across the UK and took place in Salford in March 2013

• somewhereto_ been awarded £7m by Big Lottery Fund to support its expansion

• Scotland – Conflux is continuing, with an annual festival in July 2013 and building towards the Commonwealth Games year in 2014

• Wales – an Arts Framework now is in place for the Welsh heritage organisation, Cadw. The concordat is with Arts Council of Wales and is led by the Welsh Government and will enable Cauldrons and Furnaces to continue to develop

• North West – Lakes Alive has achieved National Portfolio Organisations (NPO) status, the AND festival is continuing (with LTUK Transition funding); Blaze is building a legacy beyond 2012 by investing in future young leaders, helping to make Lancashire, Blackpool

and the Fylde Coast a vibrant and creative area. 2012 saw Blaze exceed the range and scope of its planned programme to include the delivery of a Blaze Festival, programmed and produced by young people. This has set the foundations for the evolution of a new youth led festival as an annual event.

• North East – developed 15 new projects, several of which will continue (including Time Travel Northumberland, The Factory which has been brought into Tyneside Cinema’s core activity, and Five Ring Circus)

• Eastern – continuing activity beyond investment including Aldeburgh World Orchestra, Exchanging Worlds Ensemble of Young Performers

• Yorkshire – imove will continue (through LTUK Transition funding). The National Centre for Early Music has already staged a follow-up performance to Striggio, offering an alternative concert experience to classical audiences. Work in 2013 and beyond will include establishing Aqua-Kathak across the UK and the wider marketing of the Stanza Stones walking trail and the creation of new permanent artworks in urban centres featuring the works of some of the young writers involved in the project

• West Midlands – secured additional funding to roll regional programme (Community Games) out across England. DanceXChange are taking forward work to capture and build on learning,

resourced by Arts Council England through strategic funds aligned to its regional plan (awarded £150,000)

• East Midlands – Deda have received Arts Council England funding to carry out a cultural tourism pilot project – large scale building animations in several locations. As a result of support given from the Creative Innovation strand, the University of Leicester have agreed to fund the collaboration with the 1623 Theatre Company for the next three years, due to the previous successful experience

• Northern Ireland – Open Arts is continuing to provide training and expertise in the field of disability dance; two sets of classes and professional dance classes with mainstream dance companies are continuing. As at October 2012 a weekly after school dance club was running with 35-40 children following work with Echo Echo.

• South East – Driving Inspiration has been successful in gaining funding from Arts Council England to enable national and international working. uScreen has attracted European funding to continue its ground-breaking work and the Disabled British Open golf tournament continues to be delivered by independent company Remarkable Events, and achieved headline sponsorship from yourgolftravel.com

• South West – 19 of the 25 respondents said that the new projects created for RELAYS will continue in the future. Projects that are expected to continue include: Bristol Festival of Sport, Illuminate

organisations to increase buy-in, using resources effectively while ensuring robust processes.

8.9 The evaluation team worked with the Trust Board and staff to develop a Theory of Change supporting more effective articulation of the concept of legacy, particularly for individuals, communities and organisations. This also provided a framework for assembling and assessing evaluation evidence. Early development of a Theory of Change is recommended for those establishing new programmes, particularly those linked to long term change.

8.10 The Trust developed a Legacy Standard to provide guiding principles and inform programme development from the outset. This has been reviewed to reflect the Theory of Change and an updated Legacy Standard is presented below. This should be of wider interest to funders developing programmes with long term impact.

8.11 There are a number of areas of learning arising from programme activity, particularly in relation to engagement. These include:

• ensuring that those targeted are placed at the centre and are supported to design and lead activities (whether young people or disabled people)

• barriers for disabled people are such that participation will be low unless proactively targeted

• importance of locating activities in communities (which also contributes to impact – building communities and creating a sense of place)

• use of partnership to engage new people

Legacy Standard (2013)A. Projects will be expected to:

• Fit at least one of the three key themes of sport, education and the arts and encourage a joined-up approach across these themes

• Offer a coherent programme of high quality activities and experiences with clearly defined outcomes [for particular target groups e.g. defined by geography, age, people with disabilities, other particular characteristics]

• Incorporate new ideas, approaches and collaborations which will inspire individuals and their communities [e.g. new applications of digital media]

• Keep overheads low and make best use of existing community resources and facilities

• Be not for profit

• Complement other relevant large scale programmes

• Consider the impact on the environment

• Reflect [Olympic] values of excellence, friendship, respect, and [Paralympic] values of courage, determination, inspiration and equality.

B1. To ensure lasting benefits for individuals and communities, programmes/projects will be:

• Effectively marketed and communicated so that they are highly visible and widely supported by the public

• Capable of reaching new audiences and accessible to a wide range of diverse communities

• Active in encouraging greater participation, community inclusion, active citizenship, volunteering among target groups e.g. children and young people

• Active in developing participants: building their personal capacity, confidence and providing inspiration

• Capable of delivering specific positive outcomes for individuals involved.

B2. To ensure lasting benefits for organisations, projects will develop organisational capacity to produce and deliver high quality events and activities by:

• Establishing systems for reaching new audiences and developing sustainable relationships

• Acquisition of new technology/equipment and development of appropriate skills

• Developing greater and more diverse skills of staff/volunteers

• Leveraging significant resources, which can help expand reach and impact

• Involvement in new and varied networks and partnerships

• Learning from evaluation of activities and outcomes for participants

• Using communications of positive outcomes to increase organisational recognition and reputation.


9.4 The Theory of Change model developed as part of the evaluation process outlines how the Trust’s approach and programmes’ activities contributed to impact for individuals, organisations and communities and wider strategic impact. An updated Legacy Standard has also been produced, to incorporate elements of the Theory of Change. These frameworks should be of wider interest and useful to funders and programme developers wishing to make a long term impact.

A lasting differencefor individuals

9.5 There is extensive evidence that the programme has made a lasting difference to significant numbers of individuals throughout the UK, in particular increasing confidence, inspiration and skills development. There is also evidence that involvement in the programme has led to some individuals subsequently securing employment or studying.

9.6 The programme has contributed to people feeling part of stronger and wider social/community networks and an increased sense of civic pride. Factors that have contributed include: personal relevance – cultural experiences which provide a link to the personal history and interests of the individual; sense of place – cultural activities integrated into people’s everyday lives and structures; and trust – cultural activities which are in familiar surroundings and contexts.

9.7 All programmes engaged with children and young people (some exclusively) and over one million children and young people have been involved. Many programmes have also been implemented with young people in new roles as designers and leaders of cultural activity.

9.8 Several programmes had projects focusing on disabled people and this was the primary focus of Accentuate in the South East. These programmes have been successful in delivering lasting change for disabled people, as well as increasing understanding and awareness of disability issues for non-disabled people. Over 75,000 participants were disabled, accounting for 5.5% of all participants. However in many programmes the proportion of disabled participants was low, indicating that engagement with disabled people is difficult if it is not given a specific focus.

9.9 There is extensive evidence of engaging hard to reach individuals - in terms of geography, deprivation and minority communities. Factors which have contributed to successful engagement include: delivering activities in local areas including outdoor events; ceding control to target groups to create a sense of ownership; changing the context in which cultural events and activities are placed; using venues in which people from target groups feel comfortable; a partnership approach, including using sports structures to access those not

usually participating in cultural activity and incorporating mentoring into projects to provide additional support. Other research (DCMS 2005 see p9) strongly suggests that these factors are key drivers of cultural participation and engagement.

A lasting difference for organisations and communities

9.10 There is significant evidence that the programme has made a lasting difference to organisations and communities. Several new organisations have been created and nurtured, extensive partnerships developed and the skills of staff and volunteers in organisations developed. New programmes and activities have been designed to reach new audiences, along with the knowledge and systems developed to ensure that this can be continued in the future. Partnerships have contributed significantly to this.

9.11 Many organisations have been successful in attracting new funding for their activities. Examples range from large amounts from national funders (somewhereto_ – £7m from Big Lottery Fund), Community Games – £2m from Social Action Fund) to smaller amounts from Arts Council’s Grants programmes (such as Big Dance with £100,000 for business development to £890,000 for Lakes Alive as National Portfolio Organisation).

Bath, Global Gardens, Plymouth Festival of School Sport/Master classes, citizen journalism and an Art of Sport Festival. In addition, an URBANISE toolkit will be created and distributed to local authorities, schools and sports clubs. Some of the universities have already taken over funding for the coordinator post. Some of the partners have already taken on the events as on-going activities

• London – Arts Council England have agreed to commit £100,000 towards supporting the legacy of Big Dance. Since completing Dancing Voices in London, Barrowland Ballet successfully received funding from Creative Scotland to remount the project in Glasgow. Capital Age Festival has successfully raised additional funds for East London Dance to deliver a bespoke older people’s project in Enfield using the Dancing Voices choreography. The British Council have announced their intention to support the Big Dance Schools Pledge in 2013.

Achievement of scale of involvement throughout the UK

9.1 With an initial investment of £40 million, Legacy Trust UK has funded 16 programmes – four UK programmes and one in each region and nation – with the common themes of uniting culture, sport and education and being community-based. These have:

• reached audiences of 11.6 million

• involved 1.37 million participants




• secured £55.6m in match funding

9.2 There is strong evidence that the Trust has been highly successful in creating a lasting cultural and sporting legacy from the London 2012 Olympic and Paralympic Games – for individuals, organisations and at a strategic level.

An effective funding model

9.3 The Trust’s approach appears to have been highly effective. Important features of the model are:

• a UK wide, programmatic approach with strong regional buy-in

• an emphasis on partnership which contributes to participation, quality and legacy

• the development of a Legacy Standard – to define what legacy meant as well as being used as criteria in assessing proposals

• investing in ideas spanning engagement and quality

• the length of funding provided (three to four years), with amounts agreed up front to support planning and leverage

• operating as an engaged funder, investing in relationships and creating a culture of working collaboratively and flexibly.

Factors also contributing to the success of the approach include:

• independence of the Trust – allowing a distinctive approach to funding and supporting innovation and risk-taking

• a focus on legacy provided a broader remit than other funding agencies with an emphasis on engagement and partnerships across sectors

• highly effective leadership and a strong staff team.

Conclusion

Land of Giants Big Dance © Stephen McLaren



9.12 At a strategic level, there is evidence that the programmes contributed to the local economy including tourism. This has led to some successes in influencing funders and cultural agencies at a strategic level, most notably in the East Midlands. It remains to be seen whether the experience of the programme results in a change in funding policy and practice by other local authorities or the Arts Council England and this could be an area to assess further in the future.

9.13 The Trust’s programmes have contributed to significant sectoral development in the areas of outdoor arts, dance, physical performance, community-based sports activity and digital media/new technology. There is also evidence that the level of funding available contributed to raising ambitions within the cultural sector more generally.

Recognition of Legacy Trust UK

9.14 The Trust aimed to align its work with LOCOG and was a Principal Funder of the Cultural Olympiad and London 2012 Festival. There is evidence that the participants were aware of the link with the Olympics and Paralympics and this appears stronger where there was greater synergy with the Cultural Olympiad. The independent status of the Trust enabled its flexible, risk-taking approach that contributed significantly to its success. However there were resulting implications for branding (more complex), fundraising (more constrained) and influence.


9.15 The legacy from funded programmes is strong, with a wide range of activity continuing in 2013 across the UK. The Trust is continuing to build its legacy through funding a number of transition projects and exploring young people’s views on legacy.

9.16 There is significant potential for the Trust to share learning on creating legacy or lasting difference, including the benefits of the LTUK model, early development of a Theory of Change and use of the updated Legacy Standard.

9.17 The Trust will have an interest in assessing whether there is further strategic impact arising from its activities, as well as whether those changes in practice already achieved are sustained, such as increased roles for young people and disabled people in cultural activity.

Projects have created an economic impact of

£58 million

Mintfest © Steven EggletonUrban Games © NE Generation

On The Nightshift © Stewart Smith

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To find out more information about the Legacy Trust UK you can contact us via the following:

t. 020 7033 2450e. [email protected]. www.legacytrustuk.org Design by Design Culture

Documents

Final Evaluation Report