Introduction: The Cultural Politics of London 2012

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Notes

1. See, for example, Guy Debord, The Society of the Spectacle, trans. by Donald Nicholson-Smith (New York: Zone Books, 1994 [1967]).

2. John Horne and Garry Whannel, Understanding the Olympics (Abingdon: Routledge, 2012), p. ix.

3. BBC Sport, ‘Olympics: Countries’, BBC, 13 August, 2012, <http://www.bbc.com/sport/olympics/2012/countries> [accessed, 13 August 2013].

4. Avril Ormsby, ‘London 2012 Opening Ceremony Draws 900 Million Viewers’, Reuters, 7 August 2012, <http://uk.reuters.com/article/2012/08/07/uk-oly-ratings-day-idUKBRE8760V820120807> [accessed 13 August 2013].

5. For details, see articles in this issue by Jen Harvie, Keren Zaiontz, Colette Conroy and Hari Marini.

6. Osborne was memorably booed at a Paralympics awards ceremony in the Olympic Stadium on 3 September 2012, as recorded in a clip from Channel 4 News: <http://www.youtube.com/watch?v=qqM0Ube0oLs> [accessed 13 August 2013].

7. Olivia Parker, ‘London 2012: Olympic Ceremonies Through the Ages’, Telegraph, 12 August 2013, <http://www.telegraph.co.uk/sport/olympics/9429085/London-2012-Olympic-ceremonies-through-the-ages.html> [accessed 13 August 2013].

8. See, for example, Sarah Brown, ‘London 2012: The Women’s Olympics?’, CNN, 10 August 2012, <http://edition.cnn.com/2012/08/10/sport/london-olympics-women> [accessed 13 August 2013].

9. Arts Council England’s budget was cut by 30 per cent in 2010. Jen Harvie, Fair Play – Art, Performance and Neoliberalism (Houndmills: Palgrave Macmillan, 2013), ch. 4, ‘Public Private Capital: Arts Funding Cuts and Mixed Economies’, pp. 150–91, especially p. 155 onward.

10. Beatriz Garcia, ‘London 2012 Cultural Olympiad Evaluation Executive Summary’, Liverpool: Institute of Cultural Capital, 25 April 2013. This document is available at Arts Council England <http://www.artscouncil.org.uk/news/arts-council-news/London-2012-Cultural-Olympiad-evaluation/> [accessed 22 October, 2013].

11. Diana Taylor, The Archive and the Repertoire (Durham: Duke University Press, 2003), p. 3.

12. Department for Culture, Media and Sport (DCMS), Our Promise for 2012: How the UK Will Benefit from the Olympic and Paralympic Games (London: DCMS, June 2007), p. 3.

13. Graeme Evans, ‘London 2012’, in Olympic Cities: City Agendas, Planning and the World Games, 1896–2016, ed. by John R. Gold and Margaret M. Gold (London: Routledge, 2008), pp. 359–89 (p. 360).

14. See ‘Queen Elizabeth Olympic Park – Watch the Park Unfold’, <http://queenelizabetholympicpark.co.uk/vision/park-timeline> [accessed 13 August 2013].

15. See their joint report, Inspired by 2012: The Legacy from the London 2012 Olympic and Paralympic Games: A Joint UK Government and Mayor of London Report (London: Mayor of London, July 2013), <http://www.london.gov.uk/sites/default/files/2901179_OlympicLegacy_acc.pdf> [accessed 13 August 2013].

16. Andy Thornley, ‘The 2012 London Olympics. What legacy?’, Journal of Policy Research in Tourism, Leisure and Events, 4 (July 2012), 206–10.

17. The Cultural Olympiad set out to increase the participation of young people and ‘disabled artists and participants’ in cultural activities through mass events such as Big Dance and the Unlimited Festival. See Garcia, London 2012 Cultural Olympiad Evaluation Summary, p. 16.

18. On Legacy Trust UK’s webpage, ‘About Legacy Trust UK’, they explain that ‘[o]ur funding is provided by the Big Lottery Fund (£29 million), Department for Culture Media and Sport (£6 million for UK School Games) and Arts Council England (£5 million).’ Legacy Trust UK, <http://www.legacytrustuk.org/info/About/> [accessed 13 August 2013].

19. ‘Artists Taking the Lead’, Arts Council England, </http://www.artscouncil.org.uk/what-we-do2/our-priorities-2011-15/london-2012/artists-taking-the-lead/> [accessed 13 August 2013].

20. See in this issue, Marilena Zaroulia, ‘“Not for us what can be dreamed or imagined, described or spoken of”: Alex Hartley’s Nowhereisland and the “impossible” of the Olympics’, 553–62 (p. 559).

21. See in this issue, Fiona Wilkie, ‘Beyond the Blank Canvas: Lone Twin’s The Boat Project’, 563–67 (p. 565).

22. See in this issue, Louise Owen, ‘Robert Wilson, Walking (Holkham Estate, 2012)’, 568–73 (p. 570).

23. Ibid., p. 569.

24. See in this issue, Susan Bennett and Julie Sanders, ‘Here/ There: National Theatre Wales’s Coriolan/us, 8–18 August 2012, Hangar 858, RAF St Athan, Vale of Glamorgan (directed by Mike Pearson and Mike Brookes)’, 574–78 (p. 576).

25. See in this issue, Hari Marini, ‘The ArcelorMittal Orbit’s Ambivalent Effect and the London Olympics: Art, Regeneration, Business and Sustainability’, 587–92 (p. 587).

26. BBC News, ‘Salmond Calls for Independence Referendum in 2014’, BBC News, 10 January 2012, <http://www.bbc.co.uk/news/uk-scotland-16478121> [accessed 13 August 2013].