The Legacy of the Paris 2024 Olympic and Paralympic Games

4. Iconic Games: Opening the city for greater engagement in sports and culture

Abstract

This chapter focuses on the cultural dimension of the Paris 2024 Games, highlighting the major innovations that have redefined the Olympic and Paralympic experience. For the first time, ceremonies were held outside traditional stadiums, offering an unprecedented spectacle in the heart of the city. Similarly, several competitions took place at iconic venues, strengthening the dialogue between heritage, urban planning and sport. At the same time, the Cultural Olympiad rolled out a rich and diverse programme across the country, illustrating the intersection between the arts and sport and encouraging public engagement well beyond the competition sites. This integrated approach helped embed culture at the heart of the event, thereby affirming the role of the Games as a catalyst for new cultural and social dynamics.

What is the issue?

The Cultural Olympiad, Games opening and closing ceremonies, the Olympic torch relay play an important role in extending the event’s impact beyond sports. The Cultural Olympiad - a large-scale cultural programme running alongside the Olympic and Paralympic Games - as well as the opening and closing ceremonies, and the events accompanying the Olympic torch relay offer a unique opportunity for host countries to leverage the event for broader economic, social, and cultural development, and international visibility.

A well-designed Cultural Olympiad has the potential to attract cultural tourists and generate additional revenues beyond sports-related activities, although evidence suggests that the Games themselves can sometimes lead to a temporary downturn in tourism due to concerns over congestion and high prices. The positive effects on tourism may be felt more strongly in the years following the event rather than during it. Nevertheless, the Cultural Olympiad can provide a significant boost to local artists, cultural institutions, and creative industries by increasing their exposure and commissions opportunities. Additionally, cultural events can further create employment across various sectors, including hospitality and service industries, while fostering skills development in event management, artistic production, and digital technologies.

The cultural dimension of the Games enhances social inclusion and participation. Cultural events are often designed to offer a platform for diverse voices, including underrepresented communities, to engage with and contribute to cultural programming. It strengthens education and youth engagement by integrating arts education, increasing cultural literacy, and inspiring participation in creative industries. Furthermore, through participatory programming, cultural initiatives contribute to community cohesion, fostering social bonds, enhancing local pride, and promoting intercultural dialogue.

Cultural infrastructure can be boosted through the Games. While large-scale investment in cultural infrastructure as part of the Cultural Olympiad is rare, smaller-scale interventions in cultural venues, heritage sites, and public art can contribute to the regeneration of public spaces and enhance existing cultural infrastructure. These efforts can stimulate the revitalisation of cultural districts and improve the city’s overall attractiveness for residents and visitors, though their scale and permanence depend on the level of investment and strategic planning beyond the Games. For instance, following the London 2012 Olympics, the Queen Elizabeth Olympic Park (the primary venue for the London 2012 Games) has been transformed into a cultural and educational hub known as East Bank. This development includes institutions such as Sadler’s Wells East, a new dance theatre, and UCL East, a campus for University College London. These projects exemplify how post-Games infrastructure development can foster long-term cultural and educational growth.

A successful Cultural Olympiad enhances the host country’s global recognition and branding as a cultural leader. It facilitates international cultural relations by fostering cross-border collaborations, artist exchanges, and cultural diplomacy initiatives. Additionally, increased international visibility can attract long-term cultural investments, leading to further opportunities for partnerships and funding.

Large cultural events can strengthen the sector and foster innovation in cultural policies. Beyond the Cultural Olympiad, large cultural events such as world expos, biennales, and festivals can contribute significantly to the development of cultural ad creative sectors. They stimulate demand for arts and cultural products, encouraging increased cultural consumption. These events promote public-private partnerships by attracting business investments in cultural initiatives and facilitate cultural policy innovation, supporting new governance models for cultural funding and programming.

However, hosting a Cultural Olympiad presents challenges in governance, financial sustainability, inclusivity, and environmental impact. Co-ordination between cultural institutions, government agencies, levels of government and the private sector can be complex, and the absence of clear legacy planning may limit long-term benefits. Financial sustainability can be a concern, as cultural programmes often rely on limited public funding and short-term sponsorships, making them vulnerable to budget constraints. Furthermore, Games organisers tend to prioritise sponsorships for core sporting events, limiting the availability of private investment for cultural initiatives. Ensuring accessibility and inclusivity is also a challenge, as cultural programming may disproportionately serve elite audiences while grassroots and community-driven initiatives receive less support. Encouraging participatory programming and providing free or subsidised cultural activities can help broaden public engagement. Additionally, large-scale cultural events raise sustainability concerns due to their environmental footprint. Implementing carbon-neutral initiatives and waste reduction strategies can help mitigate these risks.

Measuring the impacts of cultural activities, including the Cultural Olympiad, presents significant methodological challenges due to the complexity of isolating direct effects from broader economic, social, and cultural dynamics. Unlike infrastructure investments, where outcomes can be quantified through employment figures or economic multipliers, the benefits of cultural programming are often more diffuse and long-term. The sheer number of visitors attending Cultural Olympiad events complicates precise attribution, as many may have already been present for the Olympic and Paralympic Games or other activities. Additionally, while ticket sales and attendance figures provide an indication of engagement, they do not capture qualitative aspects such as community cohesion, cultural participation, or the legacy effects on local creative industries. Surveys and longitudinal studies can offer insights into shifts in cultural engagement and perceptions of host regions, but these require sustained data collection beyond the event itself. Moreover, differentiating between immediate economic benefits - such as increased tourism expenditure - and more enduring impacts - such as strengthened cultural infrastructure or enhanced international visibility - requires a combination of economic modelling, qualitative research, and policy evaluation. The absence of standardized metrics across host cities further complicates comparative analysis, underscoring the need for a more consistent framework to assess the long-term effects of large-scale cultural programmes like the Cultural Olympiad. In this context, the OECD Global Events Indicators Framework provides a valuable tool for host countries, enabling systematic measurement of economic, social, and environmental impacts (OECD, 2023[1]) (OECD, 2023[2]). By applying internationally comparable indicators, policymakers can better assess the legacy of cultural events and inform future strategies for maximising their benefits.

Paris 2024: Opening the city for greater engagement in sports and culture

The Olympic Torch Relay

As with every edition of the Games, the Paris 2024 Olympic Torch Relay was designed to celebrate France’s rich cultural and historical heritage and to engage communities nationwide. Starting on 16 April 2024 in Olympia, Greece, the flame journeyed through Greece before arriving in Marseille on 9 May aboard the historic three-masted barque, Belem. Over the subsequent months, the relay traversed over 400 towns and cities across France, including five overseas regions - French Guiana, Réunion Island, French Polynesia, Guadeloupe, and Martinique - culminating in the opening ceremony on 26 July 2024. This extensive route was designed to showcase France’s diverse landscapes and to foster nationwide enthusiasm for the Games.

A distinctive feature of the Paris 2024 relay was the introduction of team relays, a first in Olympic history. Teams of 24 individuals, comprising champions, everyday athletes, volunteers, referees, and coaches, collectively carried the flame, symbolising unity and the collective spirit of sport. This approach extended to the Paralympic Torch Relay, where 200 torchbearers participated in team relays across more than 50 towns and cities, emphasising inclusivity and the prominence of Para sports (International Paralympic Committee, 2024[3]).

The Paris 2024 Olympic Torch Relay was designed to enhance the visibility of France’s diverse regions and cultural and historical heritage, with the expectation of stimulating future tourism. By passing through approximately 30 UNESCO World Heritage sites, the relay aimed to showcase lesser-known destinations and encourage visitors to explore beyond traditional tourist hubs. The French Ministry of Culture worked with Paris 2024 Organising Committee to organise artistic events at these sites to enhance their visibility and potential for future tourism growth.

The Paris 2024 Olympic Torch Relay was linked with the Terre de Jeux 2024 initiative, reflecting a shared commitment to promoting sports and cultural engagement across France. The Terre de Jeux 2024 label was awarded to numerous municipalities, recognising their efforts to integrating sports into daily life and enhancing community involvement. For instance, the Loir-et-Cher department, a recipient of this label, actively participated in the Torch Relay, with the flame passing through seven of its municipalities. This journey highlighted the region’s rich heritage and underscored its efforts to promote sports as an integral part of everyday life.

Paris 2024 opening and closing ceremonies

The Paris 2024 Olympic and Paralympic Ceremonies redefined traditional formats by integrating the city’s iconic landmarks and cultural heritage. The Olympic Opening Ceremony on July 26, 2024, marked a historic departure from tradition by taking place along the Seine River, rather than within a stadium. Athletes paraded on boats along a 6-kilometer route from the Austerlitz Bridge to the Eiffel Tower. This unprecedented format aimed to integrate the city’s iconic landmarks into the ceremony, offering a unique experience for both participants and viewers. The Paralympic Opening Ceremony on August 28, 2024, was held at Place de la Concorde, also marking the first time such an event was conducted outside a traditional stadium. The ceremony featured a parade of athletes along the Champs-Élysées, culminating at Place de la Concorde, and celebrated the theme of the “human body and its paradoxes.” The Closing Ceremonies for both Olympic and Paralympic Games were held at the Stade de France, both featuring a mix of traditional and contemporary genres and artists transforming the venue into a large-scale celebration. Traditional elements such as the parade of athletes and the handover of the Paralympic flag to Los Angeles, the host of the 2028 Games, were also integral parts of the ceremonies.

Hosting competitions at the heart of iconic cultural venues

The Paris 2024 Olympic and Paralympic Games integrated the city’s landmarks as venues, creating a distinctive urban Olympic experience. Several renowned locations were transformed into sports venues showcasing Paris’s rich cultural heritage. The Champ de Mars and the Eiffel Tower provided the setting for beach volleyball, blind football on the esplanade, and judo and para-judo in a temporary venue. The Grand Palais was repurposed to host Olympic and Paralympic fencing and taekwondo. Les Invalides hosted the archery competitions, while the Place de la Concorde became a focal point for urban sports, including 3x3 basketball, BMX freestyle, skateboarding and breaking. The Palace of Versailles served as the venue for equestrian events.

Hosting competitions at these sites required extensive logistical and transportation planning, along with efforts to address residents’ concerns. Logistical planning included infrastructure reinforcement to protect historic buildings, transportation management to facilitate smooth movement, and security measures to ensure the safety of participants and visitors. Prior to the Paris 2024 Olympic and Paralympic Games, there was notable apprehension among residents concerning potential disruptions. A 2023 survey indicated that nearly half of Île-de-France inhabitants viewed the Games unfavourably, citing concerns over increased tourism, security risks and potential overcrowding of public transportation (Reuters, 2023[4]). Consequently, a segment of the population chose to leave the city during this period. However, not only was the ambitious challenge of hosting the first Games fully accessible by decarbonized public transport, bicycle, or on foot successfully met, but the smooth connectivity between the many competition venues across Paris and its region also demonstrated the network’s efficiency (Le Monde, 2023[5]). To maintain a similar level of service, work on the network needs to continue beyond the Games, including improvements to the metro stations’ limited accessibility. Residents who remained in Paris experienced the Games’ unique atmosphere, engaging with the city’s cultural offerings and international visitors. For instance, the Olympic fan zones (designated areas with free access where residents and visitors could gather to watch live broadcasts of events on giant screens, participate in sports and cultural activities, and enjoy food and entertainment), attracted over 150 000 spectators during the initial weekend, providing communal spaces for residents and tourists to celebrate together (Le Monde, 2024[6]).

Record high global audiences and 4.2 million visitors

Paris 2024 were the most followed Games ever. The IOC Audience and Consumer Insights report highlighted that the Paris 2024 Olympic and Paralympic Games achieved unprecedented global engagement, with approximately five billion individuals - 84% of the potential global audience - following the event. This represents a significant increase from previous editions. Digital platforms played an important role in this engagement. There were an estimated 412 billion interactions stemming from 270 million social media posts, marking a 290% surge compared to prior Games. Media Rights-Holders (MRHs) experienced a 13-fold increase in social media engagements, with 70% of the global audience accessing content via both television and digital channels. Collectively, viewers consumed 28.7 billion hours of coverage on MRH platforms, averaging nine hours per viewer - a 20% rise from previous Games. Consumer insights showed that 78% of respondents believe the Games are more important than ever in a divided world. Notably, the relevance of the Games among Generation Z has surpassed that of the general population, driven by inspiring athlete stories, social media buzz, and improved content accessibility (International Olympic Commitee, 2024[7]).

Paris 2024 Games attracted 4.2 million visitors (EY, 2025[8]). This represents an increase of 45% compared to the London 2012 Games. Among these visitors, nearly 1.2 million were from abroad (+47% compared to the London 2012 Games), one third of whom came from non-European countries, while French spectators accounted for 71% of the total, or 2.8 million people (EY, 2025[8]). Overall, tourism dynamics depended on the territories and periods concerned. Several sources and indicators available in mid-2025 make it possible to estimate tourist attendance over the course of the 2024 Games season (see Box 4.1).

Box 4.1. Paris 2024 Games tourism trends across territories

The Paris Olympic and Paralympic Games were a defining feature of summer 2024, with contrasting tourism trends across regions and periods.

During the specific period of the Paris 2024 Games, tourist numbers in Île-de-France grew in comparison to 2023 according to Visit Paris Region. The Île-de-France region recorded 7.1 million tourist stays during the Games period, an increase of 11% compared to 2023. According to Banque de France, Île-de-France alone accounted for 40% of the additional non-resident visitors during the Olympic period (compared to 5% over the entire tourist season), welcoming nearly 11.2 million visitors between 26 July and 11 August, including nearly 3 million tourists. Among these, more than 1.6 million were international tourists, representing an increase of 10.3% compared to 2023. The main foreign markets represented were the United States (239 000 tourists, +6%), Germany (136 000, +36%) and the United Kingdom (130 000, +22%). Domestic tourism also grew, with 1.4 million French visitors compared to 1.1 million in 2023 (+24.4%). According to the Paris Tourist Office, day trippers - visitors making day visits from outside the region - accounted for 28% of visitors, or 3 million people, an increase of 8.2%. During the Paralympic Games (28 August – 8 September), attendance amounted to around 970 000 domestic tourists (-5.7% compared to 2023) and 970 000 international tourists (stable compared to the previous year).

In terms of overnight stays, at the national level, mainland France recorded 320.6 million overnight stays in collective tourist accommodation between April and September 2024, a decrease of 2% compared to the same period in 2023, according to the national statistical office (INSEE). At the same time, the Banque de France observed a 3% increase in the average number of non-resident visitors in mainland France compared to 2023, based on mobile telephony data. This increase was more marked during the Olympic Games (26 July – 11 August), when the average daily number of non-resident visitors rose by 7% compared to 2023, reaching around 360 000 people.

At the regional level, Île-de-France, which hosted 26 competition venues, recorded 43.7 million overnight stays in collective tourist accommodation between April and September 2024, a decline of 6.2% compared to the same period in 2023. This decline was largely due to a 9.2% drop in non-resident visitor numbers over the summer season as a whole. The decline was particularly marked in the run-up to the Games, with overnight stays falling by 13.4% in June and 18.7% in July. Several factors have been put forward to explain this decline: unfavourable weather, industrial action in the transport sector, the postponement of certain festivals and sporting events, and an uncertain political context.

Similar dynamics were observed in London during the summer season of 2012. From 1 July to 15 September 2012, the cumulative occupancy rate of London hotels fell by 4 percentage points compared to the same period in 2011, according to the Deloitte and STR global.

Source: (Visit Paris Region, 2025[9]); (Banque de France, 2025[10]); (Paris Tourist Office - Paris je t'aime, n.d.[11]) ; (INSEE, 2024[12]) ; (Deloitte STR global, 2012[13])

The Paris 2024 Games had a mixed impact on local commerce and taxi services. Despite expectations of increased sales due to the influx of visitors, many businesses reported a decline in revenue during the event. Factors such as stringent security measures, restricted access, and altered traffic patterns contributed to reduced customer footfall. Similarly, numerous retailers and restaurants, particularly those located away from main event sites, faced significant decreases in sales. Taxi drivers also encountered challenges during the Games. Traffic restrictions and the establishment of exclusive lanes for Olympic-related transportation limited their operational areas, leading to substantial revenue losses. Reports indicate that some drivers experienced a 40% to 50% reduction in income. In response, taxi unions petitioned the government for financial compensation to mitigate the adverse effects of these disruptions (France24, 2024[14]).

During the summer of 2024, several major cultural institutions in the Paris region experienced notable declines in visitor numbers. The Louvre reported a 14% decrease, the Centre Pompidou saw a 28% drop, and the Musée d'Orsay experienced a 26% reduction in attendance. The Hôtel de la Marine faced the most significant decline, with a 50% decrease in visitors. In contrast, sites such as the Catacombs and the Basilica of Saint-Denis maintained stable or increased visitor numbers. Museum officials observed a shift in the typical visitor demographic, noting an influx of younger and more enthusiastic attendees during this period (Le Monde, 2024[15]).

The Cultural Olympiad

The Cultural Olympiad is the artistic and cultural programming associated with the Olympic and Paralympic Games. It was conceived to celebrate the integration of sport, culture, and education - a triad central to the philosophy of Olympism as envisioned by Baron Pierre de Coubertin. Early editions of the Games even included official artistic competitions in painting, sculpture, music, literature, and architecture, known as the “Pentathlon of the Muses.” However, due to challenges in implementation, this formal competition was discontinued in 1936, evolving instead into the Cultural Olympiad - a multidisciplinary programme that showcases artistic excellence and cultural diversity alongside athletic performance.

The Cultural Olympiad is a formal deliverable mandated by the International Olympic Committee (IOC). The International Olympic Committee (IOC) emphasizes the integration of culture and sport as a fundamental aspect of the Games. According to the Olympic Charter, the Organising Committee for the Olympic Games is mandated to organise a programme of cultural events that must cover at least the entire period during which the Olympic Village is open (International Olympic Committee, 2024[16]). The primary objectives of the Cultural Olympiad are to:

• Foster a symbiotic relationship between art and sport, highlighting their shared values and mutual inspiration.

• Promote cultural exchange and understanding among participating nations, thereby enhancing international goodwill.

• Engage diverse audiences by presenting a wide array of cultural expressions, thus enriching the Olympic experience beyond the confines of athletic competition.

The Paris 2024 Cultural Olympiad was organised by several stakeholders under the leadership of OCOG. The Organising Committee had the overall responsibility over the opening and closing ceremonies and the Cultural Olympiad, while the Ministry of Culture, through its decentralised offices and national cultural institutions, the City of Paris and other stakeholders contributed to the programming and developed their own projects to highlight French heritage and the integration between culture and sport. The stakeholders group included public and territorial stakeholders, particularly those representing the regions hosting Olympic and Paralympic competitions. These stakeholders included:

• French State (Ministry of Culture)

• City of Paris

• Seine-Saint-Denis Department

• Île-de-France Region

• Greater Paris Metropolis

• City of Marseille

• Terre de Jeux network (880 entities, see more later in the chapter)

A Stakeholders’ Cultural Commission facilitated co-ordination among partners, convening three times per year.

The Paris 2024 Cultural Olympiad operated through a multi-source budget. When factoring in the contributions of all involved stakeholders, including local and regional governments, the total budget of the Cultural Olympiad reached EUR 41 million. Key contributors included: the core budget allocated by Paris 2024 Organising Committee (EUR 12.8 million), the Ministry of Culture (EUR 9 million), the City of Paris (EUR 6.7 million), and regional and municipal governments such as Seine-Saint-Denis department (EUR 2.5 million), Marseille (EUR 0.6 million) and Île-de-France (EUR 3.2 million) (Paris 2024 Organising Committee, 2024[17]). The financing model includes both direct funding of cultural initiatives and project labelling, wherein projects secure alternative funding while benefiting from Cultural Olympiad branding and promotional support. This total only takes into account direct funding to new Cultural Olympiad projects. In addition, many public cultural institutions (e.g. the Louvre Museum, the Versailles Palace, etc.) used their regular budgets to design activities on Cultural Olympiad themes.

Table 4.1. Paris 2024 Cultural Olympiad budget by stakeholder contribution

Source	Budget (EUR M)	Percentage
Paris 2024 Organising Committee (OCOG)	12.8	31%
Ministry of Culture	9	22%
City of Paris	6.7	16%
Greater Paris Metropolis	6.1	15%
Île-de-France Region	3.2	8%
Seine-Saint-Denis Department	2.5	6%
City of Marseille	0.6	1%
Total	41	100%

Source: (Paris 2024 Organising Committee, 2024[17])

The Paris 2024 Cultural Olympiad has been thematically structured around the intersection of art and sport. Unlike many previous editions, which focused on showcasing national cultural excellence, the Paris 2024 Cultural Olympiad mandates that projects demonstrate an explicit connection to sport, Olympic and Paralympic values, or involve artistic interventions in sporting spaces. Examples of eligible projects included:

• Exhibitions or performances featuring Olympic themes, such as photographic displays of athletes.

• Cultural events taking place in sports venues, such as dance performances in gymnasiums.

• Community-driven artistic projects that engage with Olympic values, even if not directly focused on sport.

Cultural Olympiad projects were organised under a labelling system, where an official “Cultural Olympiad” label was attributed to initiatives that meet defined criteria. An initial strategy attempted to integrate the Cultural Olympiad with the Terre de Jeux label, a designation granted to municipalities engaged in Olympic-related activities. However, this approach was abandoned due to a misalignment in expertise - municipal representatives overseeing the Terre de Jeux label primarily came from sports administration backgrounds, lacking the necessary connections within the cultural sector. The strategy was thus revised to allow cultural institutions and artists to apply directly for project labelling. The label allowed organisations to be featured in Paris 2024’s communication channels but did not automatically entail financial support. The Cultural Olympiad’s project selection operated through three main channels:

• Open calls for participation, allowing any organisation to submit a project for labelling. This process did not include financial support.

• Thematic calls for projects, often co-managed with partners such as the Ministry of Culture or local governments, targeting specific themes (e.g., disability-inclusive arts initiatives, overseas territories).

• Direct collaborations with major institutions, including national museums and performing arts centres, leading to large-scale co-produced projects (mainly funded through the regular budget of these major institutions with some co-funding from the Ministry of Culture or the Organising Committee).

Cultural Olympiad projects were very diverse in nature and scale. In total, the Paris 2024 Cultural Olympiad included 2 596 officially labelled projects that took place between 2021 and 2024 across France and French territories overseas (Paris 2024 Organising Committee, 2024[17]). Some were large-scale, such as Aerial circus performances on the rooftops of the Palais Royal and Ministry of Culture, or the multi-year community-driven parade project in Seine-Saint-Denis, engaging local residents in choreography and set design, or the participation in the Olympic torch relay across the country, with significant cultural activations at sites such as Château d’If, Mont-Saint-Michel, and the ramparts of Carcassonne. The programme placed particular emphasis on accessibility, with 90% of projects being free of charge, and approximately half taking place in public spaces.

A communication strategy was put in place to engage the sector and attract new audiences. The Cultural Olympiad has traditionally suffered from a lack of visibility and recognition, as audiences often fail to perceive the connection between its projects and the Games. With the exception of the highly visible opening and closing ceremonies, cultural programming linked to the Olympics tends to remain relatively unknown, a challenge faced by many host cities. To address this, Paris 2024 implemented a multi-tiered communication strategy targeting both professional and general audiences. For professionals, the Organising Committee leveraged its existing communication channels, including digital platforms and press outreach, to enhance visibility and engagement. For the broader public, efforts focused on increasing awareness through social media, dedicated websites, and cultural newsletters. Additionally, an active effort was made to integrate unlabelled projects that aligned with the Cultural Olympiad’s mission, ensuring broader inclusion.

Synergies with national cultural policy: mobilisation of national cultural institutions and new flagship projects

The Ministry of Culture structured its cultural programming in collaboration with territorial authorities, allocating a budget of EUR 9 million over three years starting in 2022 to co-finance cultural projects nationwide. The Regional Directorates of Cultural Affairs (Directions Régionales des Affaires Culturelles - DRACs, a decentralised office of the Ministry of Culture, see Box 4.2) played a central role in identifying projects in co-operation with cultural actors and local governments.

Box 4.2. Cultural policy across levels of government in France

In France, cultural policy is structured across multiple levels of government, each with specific competencies:

• Central Government (Ministry of Culture): The Ministry of Culture is responsible for establishing the legal framework for cultural activities, conducting external cultural policy, and protecting heritage of national significance. It oversees and funds national museums, archives, and libraries, and manages artistic education, including the classification and oversight of schools and higher education institutions. The Ministry also implements national plans for artistic and cultural education.

• Regional Level (Regional Councils): Regional authorities are tasked with protecting cultural heritage and monuments within their territories. They organise and fund regional museums, conserve and enhance regional archives, and manage the initial stages of vocational artistic training.

• Departmental Level (Departmental Councils): Departmental authorities handle the protection of cultural heritage and monuments, manage departmental archives and museums, and oversee central lending libraries. They are also responsible for developing artistic training schemes in music, dance, and drama, and play a role in preventive archaeology.

• Municipal Level (Municipalities): Municipal authorities manage local cultural institutions, including municipal museums, archives, and lending libraries. They oversee music academies and are responsible for local artistic education.

• Regional Directorates of Cultural Affairs (Directions Régionales des Affaires Culturelles - DRAC): Operating under the Ministry of Culture, the DRACs implement national cultural policies at the regional level. They provide expertise and advice to local authorities and cultural partners, covering areas such as literature, music, visual arts, dance, theatre, cinema, scientific and technical culture, museums, archives, and heritage. DRACs ensure the coherence of cultural policies across regions and support territorial development, audience expansion, and cultural education

In addition, the Ministry’s 50 national institutions actively participated in the Games through a range of projects, including the La Mode et le Sport exhibition at the Decorative Arts Museum (Musée des Arts Décoratifs) and an exhibition at Versailles exploring the history of horses in sport. These initiatives were largely self-financed, with operators investing at least EUR 15 million independently, as national cultural institutions - including major museums, theatres, and operas - were encouraged to use their regular budgets to integrate sport-related themes into their programming. Institutions such as the Louvre Museum, Versailles Palace, and the Chaillot Theatre adapted their exhibitions and performances accordingly. While direct funding from the Ministry did not primarily support these projects, the Ministry played a co-ordinating role by organising three key meetings between cultural operators and the Organising Committee from 2021 onwards and maintaining regular consultations with the Regional Directorates of Cultural Affairs. Although mobilisation was initially slow in 2021-2022, cultural initiatives expanded significantly in 2024 as institutions adjusted their programming to align with the Games. Additionally, the Été Culturel programme, traditionally dedicated to summer cultural activities, was adapted to include projects linking sport and culture.

Promoting cultural participation through sport

The DRACs prioritised participatory projects aimed at attracting non-traditional cultural audiences through sport. One example was choreographer Agnès Pelletier’s Panique Olympique, a large-scale choreographic initiative in Nouvelle-Aquitaine that featured professional dancers and community participants performing in public spaces such as beaches and city streets (see Box 4.3). Stakeholders’ feedback indicated that the Cultural Olympiad helped bring new audiences, particularly young people, into cultural engagement through sport.

Box 4.3. Panique Olympique

Agnès Pelletier, choreographer and director of the Compagnie Volubilis, initiated the Panique Olympique project in 2018, aiming to connect the Paris 2024 Olympic and Paralympic Games with contemporary dance and amateur participation. This ambitious seven-year endeavour sought to create large-scale, inclusive choreographic performances in public spaces, blending athletic and artistic expressions.

The project comprised a series of choreographic waves, each building upon the last, with the ultimate goal of assembling 1 500 dancers for a grand performance in Paris during the 2024 Games. By 2023, Panique Olympique had engaged over 4 000 participants across more than 15 festivals, theatres, and national stages in the Nouvelle-Aquitaine region. These performances have been characterised by their joyful and poetic nature, featuring non-athletes interpreting sports through dance, often with a touch of self-deprecation.

The sixth instalment, Panique Olympique #6, took place in Brive on 26 May 2024, as part of the Cultural Olympiad leading up to the Paris 2024 Games. This event invited amateur dancers to participate in a massive street performance, celebrating the Olympic spirit and fostering community engagement through dance.

Source: https://compagnie-volubilis.com/panique-olympique

Dance emerged as a key discipline at the intersection of sport and culture. The hip-hop choreographer Mourad Merzouki’s La Danse des Jeux (dance of Games) project demonstrated how dance bridges physical performance and artistic expression (see Box 4.4). Additionally, hip-hop performances at Château de Chambord introduced audiences to unexpected cultural combinations, exposing hip-hop enthusiasts to Baroque music and historic venues.

Box 4.4. Dance at the intersection of sport and culture: la Danse des Jeux (dance of Games)

Mourad Merzouki, an important figure in French hip-hop dance, has created La Danse des Jeux, a choreographic project endorsed by the Cultural Olympiad to celebrate the Paris 2024 Olympic and Paralympic Games. Set to an original composition by Müller & Makaroff, co-founders of the Gotan Project, this initiative aims to bridge the gap between sports and the arts, fostering community engagement and inclusivity.

Designed for universal accessibility, La Danse des Jeux features straightforward and engaging movements, incorporating elements reminiscent of various sports disciplines. This design ensures that individuals of all ages and physical abilities can participate, promoting physical activity and enriching participants’ artistic experiences.

Since the start of the 2023 academic year, the choreography has been proposed for integration into educational settings, from primary schools to universities, with support from the Ministry of National Education and sports federations. La Danse des Jeux was included in various events throughout 2024, such as the Olympic and Paralympic Week in April, the Olympic Torch Relay beginning in May, the Fête de la Musique in June, and during the Games themselves at competition and celebration venues.

To facilitate widespread participation, resources including video tutorials, pedagogical guides, and historical booklets on hip-hop culture have been made available with the support from Generation 2024. These materials aim to encourage schools, associations, and the general public to adopt the choreography, thereby uniting communities in the celebratory spirit of the Games.

Source : La Danse des Jeux | Génération 2024

National Sports Archive Collection

Recognising that historical research on sport in France remains underdeveloped, the Ministry of Sports launched a national archive collection initiative between 2021 and 2022. The project, implemented in collaboration with the National Olympic Academy of France, aimed to document the history of sports clubs, federations, and community participation, with regional archives receiving substantial new donations. The initiative has garnered support from over 180 national, departmental, and municipal archive services across both mainland France and its overseas territories. The collected materials encompass a diverse range of items, including historical documents, photographs, and digital archives, reflecting the multifaceted impact of sports on society - from politics and economics to health, culture, and fashion. A notable aspect of the project was its participatory approach, encouraging citizens to become custodians of their own sporting history. The project also engaged younger generations through collaborations with schools, ensuring the importance of preserving sports heritage is recognised across all levels of society. To raise awareness and promote the collected materials, the initiative organizes events such as exhibitions, conferences, and digitization campaigns.

European Heritage Days 2023: focus on sporting heritage

The 2023 European Heritage Days placed sporting heritage at the heart of their programme, showcasing the architectural significance of historical sports venues. Closely aligned with the Cultural Olympiad leading up to the Paris 2024 Olympic and Paralympic Games, the event underscored the cultural value of sporting heritage, which is often celebrated for its architectural excellence. The Regional Directorates of Cultural Affairs worked to designate select sports facilities as “Contemporary Architectural Heritage”, with iconic sites such as the Stade de France receiving official recognition. The “Sporting Heritage” theme traced the evolution of sports practices and infrastructure, particularly those developed in the early 20th century, which are not only architecturally significant but also hold strong historical value. To mark the occasion, the French Ministry of Sports and the Olympic and Paralympic Games opened its doors to the public, offering various activities to highlight the role of sports in cultural heritage. Additionally, around 1 600 sports venues across France welcomed visitors, providing exclusive access to iconic facilities and hosting artistic and educational events linked to sporting heritage.

Architectural innovation in the Cultural Olympiad

While infrastructure development for the Paris 2024 Games was deliberately modest, several significant architectural projects were undertaken. Besides the Olympic Aquatics Centre, the Athletes’ Village, and the Organising Committee headquarters designed with sustainability principles, a major Archi-Folies Project, involved France’s 20 National Schools of Architecture to construct temporary pavilions at Parc de la Villette. In anticipation of the Paris 2024 Olympic and Paralympic Games, a collaborative initiative was undertaken involving France’s 20 National Schools of Architecture. This project, known as Archi-Folies 2024, entailed the design and construction of 20 full-scale, temporary pavilions within Paris’s Parc de la Villette. Each pavilion was developed in partnership with a different national sports federation, aiming to create structures that reflect the characteristics and requirements of various sports disciplines. The pavilions were inaugurated on June 13, 2024, and were initially open to the public from June 14 to July 7. Following this period, they served as venues for the French National Olympic and Sports Committee’s Club France during the Games. The pavilions were reopened to the public during the Paralympic Games from August 28 to September 3, 2024. This initiative provided architecture students with practical experience in project development, from initial design through to construction. The project emphasized sustainable building practices, with many pavilions utilizing biodegradable materials and innovative construction techniques. The Archi-Folies 2024 project was supported and funded by the French Ministry of Culture, in partnership with the Public Establishment of Parc and Grande Halle de la Villette, the French National Olympic and Sports Committee, and the Paris 2024 Organising Committee.

Artist residencies in sports clubs

In the lead-up to Games, the Cultural Olympiad has initiated several programmes to integrate artistic endeavours within sports environments, aiming to foster a dialogue between art and sport. One notable initiative was a residency programme, launched in 2022 offering offers artists from the Paris region the opportunity to undertake residencies within sports settings, including youth sports clubs. The objective was to create collaborative projects that intertwine artistic expression with athletic activities, thereby enriching the cultural experience within the sports community.

In addition, the City of Paris funded artist residencies in Parisian lower secondary schools as part of the L'art pour grandir (Art to Grow) programme. These residencies aimed to foster connections between schools and cultural and sports institutions through workshops, field trips and joint presentations, enabling pupils to engage with artistic practices and gain a better understanding of the creative process. In 2022–2023, 19 projects combining art and sport were implemented; 13 were carried out with sports clubs in 2023–2024; and nine are planned for 2024–2025, in line with the objectives of the Cultural Olympiad. These initiatives reflect a broader commitment to democratising access to culture and promoting interdisciplinary collaboration.

Adapting recurrent cultural initiatives to the themes of sports: the Cultural Summer

Launched in 2020 by the French Ministry of Culture, the Cultural Summer (l’Été Culturel) is a nationwide initiative. It was designed to make the summer months a time for artistic encounters, cultural participation, and community engagement. The programme aims to provide free and accessible cultural opportunities for all, with a particular focus on young people, families, and those who are otherwise excluded from cultural activities and do not have the means to go on holidays. It also supports the professional integration of young artists and cultural professionals. In 2024, the fifth edition of l’Été Culturel supported over 2 700 projects across mainland France and the overseas territories, highlighting the theme of “Culture and Sport,” reflecting the context of the Paris 2024 Olympic and Paralympic Games.

Case study

The following case study investigates the Cultural Olympiad experience of the City of Paris which from the outset placed the Games and their cultural dimension in the broader context of city transformation strategy.

Objectives and activities

The cultural strategy within the Olympic Transformation Plan

In 2019, the City of Paris adopted the Olympic Transformation Plan, a strategic document outlining how the Games would benefit the territory by accelerating public policies and fostering a lasting legacy. Among the most emblematic initiatives was the enhancement of the Seine’s water quality, enabling public swimming as part of a broader ecological response to climate change. The Plan also addressed issues such as the reduction of plastic waste and other environmental and social sustainability measures.

A significant cultural component was integrated within this framework. The overarching objective was to construct a Cultural Olympiad focused particularly on reaching diverse audiences, notably in disadvantaged neighbourhoods. The initiative aimed to support artistic creation while reinforcing educational and cultural outreach mechanisms.

Cross-sectoral integration of culture, education, and sport

From 2019, efforts were concentrated on fostering synergies between culture, education, social inclusion, and sport. The Cultural Olympiad was designed with an emphasis on interdisciplinary engagement, setting Paris apart from previous host cities. Implementation followed a two-fold approach:

• Integration into existing cultural policies and events: existing cultural policies and events were reoriented to align with the Cultural Olympiad, including the White Night (Nuit Blanche)1 and library programming.

• Creation of new programmes: Specific initiatives were developed, including “Paris Sport Vacances + Culture” - a programme offering young people combined access to sports and artistic activities during school holidays. Other initiatives included artist residencies in sports facilities and the Formes Olympiques summer festival, which provided free multidisciplinary cultural programming in public spaces.

The scale of programming intensified between 2021 and 2024, with a marked acceleration in the final year leading up to the Games. By spring 2024, a significant number of cultural events were hosted in public spaces, involving both municipal cultural actors and external partners.

Audience engagement and participation

The Cultural Olympiad successfully engaged diverse audiences. Large-scale events, such as concerts in front of the Hôtel de Ville (city hall), attracted substantial audiences. Parisian public spaces were actively reconfigured to accommodate cultural engagement, in alignment with broader urban planning objectives, including reducing car traffic and enhancing pedestrian-friendly environments.

In terms of geographical reach, while a significant portion of attendees were Parisian, there was also notable metropolitan and regional participation. Beyond large-scale public events, more localised interventions ensured that culture was accessible to different community levels. These included small-scale performances in gyms, libraries, and parks.

Learning from City of Paris Cultural Olympiad projects

The Paris Cultural Olympiad evaluation commissioned by the City of Paris provides an analysis of City’s flagship projects. The below section presents the main conclusions of the evaluation, outlining projects’ strong and weak points, and recommendations to strengthen the long-term impact of similar initiatives. The lessons learned extend beyond the Cultural Olympiad, offering valuable insights for city cultural policy development internationally (Ville de Paris, Emoha Pluricité Group, 2024[18]).

Paris sports and culture holidays (Paris Sport Vacances + Culture)

• Description: The Paris Sport Vacances + Culture (PSV+C) programme offered five-day cultural and sports workshops for children and adolescents during school holidays. It aimed to foster creativity, socialisation, and discovery by introducing participants to both artistic and sporting disciplines. A tiered pricing system based on family income made it financially accessible, and parental feedback indicated high satisfaction regarding its educational and entertainment value.

• Impact assessment results: The programme was well distributed across different areas of Paris, ensuring that both high- and low-income neighbourhoods benefit. It provided a broad selection of cultural and sports activities, which kept children engaged and promoted new experiences. The combination of arts and sports fostered a dynamic learning environment, while the affordable pricing structure ensured accessibility for a wide range of families. Despite its strengths, the programme was not fully successful in engaging low-income groups. To address this challenge, the City of Paris will work with the CAF (Family Allowance Fund) to enable broader access to holiday workshops.

The artist residency programme within sports facilities in Paris and Seine-Saint-Denis

• Description: The artist residency programme within sports facilities in Paris and Seine-Saint-Denis Residences (Artistes et Sportifs Associés) fosters collaboration between artists and athletes to produce new creative works inspired by sports.

• Impact assessment results: The programme creates unique opportunities for cultural and social integration by bringing artistic creation into spaces traditionally focused on sport. It ensures that residencies are widely distributed across different neighbourhoods, particularly in areas where access to cultural initiatives is often limited. A variety of artistic disciplines - including photography, theatre, dance and music - have been successfully integrated into these spaces. However, some artists encountered difficulties in securing working spaces, as sports centres in Paris and Seine-Saint-Denis are often at full capacity. The presence of designated contact persons within the clubs often helped to resolve potential obstacles.

Large scale public events (Grand Public)

• Description: The public programming component of the Cultural Olympiad included large-scale cultural events designed to attract a broad audience and enhance public participation at the intersection of culture and sport. These events successfully drew diverse audiences and leveraged the Olympic brand to maximise visibility. They provided a platform for local artists and were well received by the public, generating high levels of engagement and satisfaction.

• Impact assessment results: The programme benefited from strong public participation and high visibility, thanks to its connection with the Games. It successfully engaged a wide audience, including individuals who do not typically attend cultural events. The initiative also served as an important platform to showcase local talent and highlight the intersection between the arts and sport through an unprecedented programme of events.

Results and what’s next

The Cultural Olympiad led to the institutional strengthening of collaboration between the cultural and sports sectors within the municipal administration. In addition, it reinforced cooperation between the City of Paris and other regional actors. For instance, representatives from both the City of Paris and the département of Seine-Saint-Denis highlighted the deepened collaboration that could contribute to a more coherent metropolitan approach to culture - an objective that has historically proven difficult to realise. Through calls for proposals and the implementation of Cultural Olympiad initiatives - particularly the “Artists and Athletes Together” call in 2022 and 2023, which supported 33 projects - a de facto metropolitan cultural policy framework began to emerge. The Cultural Olympiad programme also facilitated stronger partnerships between cultural institutions and sports organisations, helping to enhance pedagogical approaches and outreach efforts.

At the international level, the Games catalysed cultural exchange, particularly through collaborations with Los Angeles in the run-up to the 2028 Games. The World Cities Culture Forum and Bloomberg Philanthropies’ initiative enabled exchanges between Paris and Los Angeles, leading to cooperation agreements and joint projects. One notable example was the ambitious Poetic Relay project, led by a Paris-based sports club, Paris Université Club, in partnership with the Théâtre de la Ville, and supported by Paris 2024 and the City of Paris.

From an artistic perspective, the Cultural Olympiad fostered innovation in the use of public space, notably through the development of new artistic formats beyond traditional performance venues. The programme also increased the visibility of emerging artists, particularly through the Olympic and Paralympic opening ceremonies, which showcased a mix of internationally recognised and lesser-known talents. The Paralympic ceremony, in particular, helped to challenge public perceptions of disability and accessibility in the arts. In terms of tangible urban legacy, the installation of permanent public artworks - such as the statues of women featured in the Opening Ceremony - formed part of a broader cultural legacy strategy, alongside the installation of artworks in 24 sports centres across the City of Paris.

The Department of Culture of the City of Paris aims to continue supporting programmes such as Paris Sport Vacances Culture Plus and artist residencies. Further discussions are ongoing regarding new projects that intersect culture and sport. In light of the findings from the impact study, particular attention will be given to refining engagement strategies in order to more effectively reach children from socio-economically disadvantaged backgrounds.

References

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[13] Deloitte STR global (2012), Did London Hoteliers Win Gold? The 30th Olympic Games, https://skift.com/wp-content/uploads/2013/01/Did_London_Hoteliers_win_gold.pdf.

[8] EY (2025), Evaluation ex-post de l’impact économique des Jeux Olympiques et Paralympiques de Paris 2024, Rapport final, https://www.info.gouv.fr/upload/media/content/0001/13/3358f870a20f1936997793b241c238e1419c32b8.pdf.

[14] France24 (2024), , https://www.france24.com/en/live-news/20240801-french-cabbies-seek-payout-for-lost-olympics-revenue.

[12] INSEE (2024), Les Jeux Olympiques et Paralympiques 2024 : une éclaircie dans une saison touristique particulièrement terne, https://www.insee.fr/fr/statistiques/8310453.

[7] International Olympic Commitee (2024), Paris 2024 Audience and Insights Report, https://stillmed.olympics.com/media/Documents/News/2024/12/Paris-2024-Audience-and-Consumer-Insights-Report.pdf.

[16] International Olympic Committee (2024), Olympic Charter, https://stillmed.olympics.com/media/Documents/International-Olympic-Committee/IOC-Publications/EN-Olympic-Charter.pdf.

[3] International Paralympic Committee (2024), Paris 2024 Paralympic Games, https://www.paralympic.org/paris-2024/news/paris-2024-has-chosen-its-torchbearers-olympic-and-paralympic-games.

[15] Le Monde (2024), “Les musées parisiens et le château de Versailles affichent une fréquentation estivale en berne”, https://www.lemonde.fr/culture/article/2024/09/03/les-musees-parisiens-et-le-chateau-de-versailles-affichent-une-frequentation-estivale-en-berne_6302772_3246.html.

[6] Le Monde (2024), Paris fan zones prove success amid festive Olympic atmosphere, https://www.lemonde.fr/en/sports/article/2024/08/01/paris-fan-zones-prove-success-amid-festive-olympic-atmosphere_6707126_9.html (accessed on 25 Janury  2025).

[5] Le Monde (2023), Transports publics : tirer les leçons du sans-faute des JO, https://www.lemonde.fr/sport/article/2024/08/10/transports-publics-tirer-les-lecons-du-sans-faute-des-jo_6275186_3242.html (accessed on 25 January 2025).

[1] OECD (2023), “How to measure the impact of culture, sports and business events: A guide, Part I”, OECD Local Economic and Employment Development (LEED) Papers, No. 2023/10, OECD Publishing, Paris, https://doi.org/10.1787/c7249496-en.

[2] OECD (2023), “Impact indicators for culture, sports and business events: A guide - Part II”, OECD Local Economic and Employment Development (LEED) Papers, No. 2023/11, OECD Publishing, Paris, https://doi.org/10.1787/e2062a5b-en.

[17] Paris 2024 Organising Committee (2024), Cultural Olympiad Evaluation : Paris 2024, by Beatriz García, https://library.olympics.com/Default/search.aspx?SC=DEFAULT&QUERY=Identifier_idx%3a3417409+AND+sys_base%3a%22SYRACUSE%22&QUERY_LABEL=Has+for+another+edition+on+the+same+medium%3a+Cultural+Olympiad+evaluation#/Search/(query:(InitialSearch:!t,Page:0,PageRan.

[11] Paris Tourist Office - Paris je t’aime (n.d.), Quel bilan de Jeux Olympiques et Paralympiques 2024 ?, https://events.parisinfo.com/adherents/Reunion_adh%C3%A9rents_Bilan_des_jeux.pdf.

[4] Reuters (2023), Parisians lose enthusiasm ahead of Summer Olympics - poll, https://www.reuters.com/sports/parisians-lose-enthusiasm-ahead-summer-olympics-poll-2023-11-14/ (accessed on 25 January 2025).

[18] Ville de Paris, Emoha Pluricité Group (2024), Étude d’impact de l’Olyampiade Culturelle à Paris, rapport d’évaluation.

[9] Visit Paris Region (2025), Visit Paris Region, https://pro.visitparisregion.com/presse/presse/communiques-de-presse/communique-de-presse-bilan-frequentation-touristique-2024-en-idf (accessed on  July 2025).

Note

← 1.  Nuit Blanche is an annual nocturnal arts festival in Paris, initiated in 2002, where museums, galleries, and cultural institutions remain open throughout the night, offering free access to contemporary art installations, performances, and exhibitions across the city.