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The Olympic Games is recognized worldwide as the largest sports mega-event – certainly the event attracting the largest amount of media coverage globally. As well as a sports event, the Olympics are a cultural phenomenon, with a history spanning more than 100 years and supported by a global network of organisations with an educational and intercultural remit that defines itself as a Movement and aspires to promote Olympism as a “philosophy of life” (IOC, 2007: p. 11), headed by the International Olympic Committee. What is less known, is that the Games also incorporate 100 years of Olympic cultural and arts programming and that such experience is playing a growing role defining or contributing to respective host cities’ cultural policies. This paper offers an overview of the cultural dimension of the Olympic Games and the development of Games-specific cultural programming. After an introductory section providing a discussion and framework to the notion of cultural policy-making within the Olympic Games, the paper presents a historical account of ‘official’ Olympic cultural programming in the summer editions of the Games, from the initial conception by Pierre de Coubertin in 1906 up to the last implementations on occasion of the Sydney 2000, Athens 2004 and Beijing 2008 Games. The paper ends with a brief revision of the current challenges and prospects that the programme, now denominated Cultural Olympiad and spanning over four-years, holds within the Olympic Movement and future host cities such as London in the lead to 2012.

 Keywords: Olympic Games, cultural policy, Cultural Olympiad, Olympic cultural programme

Chair: Andy Miah
Panel: Ana Adi, Beatriz Garcia, Kris Krug, Garry Whannel, Tina Zhihui.

Research into the role of the media within the Olympic Movement has focused predominantly on representational questions. Far less research has investigated the journalistic culture of an Olympic Games or the Movement more generally, besides analyses of its contribution to sustaining the Olympic Movement. Moreover, nearly no research has examined the work of those journalists who are peripheral to the organizational staging of the Games. This category includes journalists who are associated with accredited media institutions, but whom might not have formal accreditation due to restrictions on numbers of passes. It also includes journalists who are from major media organizations, but whom have no intention of working from Olympic facilities. However, it also includes non-accredited journalists, which encompasses professional journalists from a range of organizations, along with freelance or citizen journalists, whose work is utilized by the mass media and is duplicated in independent domains.

This panel engages some of these issues in the form of a round table debate about the future of journalism at the Olympic Games. It reviews some of the implications of emerging new media platforms, arguing that the Beijing 2008 Olympic Games can be characterized as the first Web 2.0 Summer Games. While some principles of Web 2.0 have been visible since the Internet’s inception, critical aspects of its current architecture began to flourish around 2005. Applications from this era, such as YouTube, MySpace and Facebook, more adequately enable users to report the Olympics as citizen journalists. The implications of this within China and for the Olympics more broadly are considerable. As mass media organizations begin to strike partnerships with new media institutions – for instance, the British Broadcasting Corporation (BBC) purchased a YouTube channel in March 2007 – questions remain over how the Olympic Movement will protect its intellectual property, as the base broadens over ownership claims and via distributed publishing syndication.