Miah, A. (2013) London 2012 Cultural Olympiad Social Media Data Analysis, Institute of Cultural Capital.
The top findings are:
- The #London2012festival Twitter hashtag was a gateway for over 500 cultural
- organizationsto promote themselves during 2012.
- The key drivers of London 2012 Festival social media activity were LOCOG Twitter
- accounts (organization and individual).
- Some of the smallest arts organizations(in terms of social media presence) in the UK
- produced some of the largest amount of social media traffic eg. Lakes Alive.
- Ruth Mackenzie was the second-most mentioned individual on #London2012Festival,
- after Yoko Ono, demonstrating the value of personalized leadership in social media
- relations.
- Across the social media assets, @London2012Fest reached the same degree of influence
- as Arts Council England (each had 66 Klout1
- score) and exceeded them in terms of
- absolute followers (over 42,000, which was more than Jonnie Peacock’s Twitter account
- by the end of the Paralympic Games.
- The @London2012Fest twitter account was the largest Cultural Olympiad brand on
- social media.
- The primary London 2012 Twitter assets (eg. @London2012 or @SebCoe) worked well for
- London 2012 Festival in advance of the Games, but were not optimally sharing content
- for Festival during the Games.
- Collectively, projects associated with London 2012 Festival created new communities of
- arts audiences, though Festival was not always visually ortextually associated with the
- project.
- Outdoor, mass spectacle events were the most successful in terms of social media traffic.
- With the exception of the Guardian, traditional media did not do very much to promote
- London 2012 Festival through social media.
- The @London2012Fest twitter account was the second most followed LOCOG identity,
- after @London2012, exceeding the follower count of both mascots.