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Table of contents
Section 1
The value of culture for society; management summary
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1.1Introduction
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1.2 Current trends
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1.3 Consequences for the publicly funded cultural sector: initial impression 9
1.4 Tracking trends
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Section 2The value of culture
2.1Introduction
2.2 Culture in the care sector
2.3 The living environment
2.3.1Transformation
2.3.2 Municipal policy
2.4 Research and evidence
2.4.1 Survey knowledge
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Section 3
Cultural education and participation in cultural life
3.1Introduction
3.2 Cultural education at school 3.2.1 The importance of cultural education
3.2.2 Cultural education at school
3.2.2.1 Music education at primary school
3.2.2.2 The Dutch Canon ofHistory at primary schools
3.2.2.3 Culture credit card
3.2.2.4 Promoting reading
3.2.2.5 Primary school managers
3.3 Receptive participation in cultural life
3.3.1 Trends in participation in cultural life 3.3.2 Potential reach and experience of the arts
3.3.3 Participation in cultural life via audiovisual media and the Internet
3.3.4 Culture on television (public broadcasting)
3.3.5 Internet and social media
3.3.6 Reading e-books
3.4 Amateur Arts
3.5 Voluntary work
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Section 4The economic value of culture
4.1 Introduction
4.2 Key economic figures
4.2.1 Contributions to the economy
4.2.2 The broader economic impact of the cultural sector
4.2.2.1 The importance of culture for cities, and regions
4.2.2.2 Tourism
4.2.2.3 European Capital of Culture and city marketing 4.2.3 Exports and internationalisation
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4.3 Economic trends and entrepreneurship
4.3.1 The effects of the economic crisis
4.4 Employment
4.4.1 Size of the sector
4.4.2 Match between education and labour market
4.5 Philanthropy
4.5.1 Trends in donations to the arts and culture
4.5.2 Donation campaign
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Section 5The publicly funded sectors
5.1 Introduction
5.2 Trend in expenditure on the cultural sector by the “G35”
municipalities and the provinces
5.3 Trends in the publicly funded cultural sector
5.4 Results in the publicly funded cultural sector
5.5 State of play in the sectors
5.5.1 Trends in the performing arts
5.5.2 Results achieved by performing arts institutions within the
Basis National Infrastructure 2009–2012
5.5.3 Trends at the museums
5.5.4 Results achieved by museums within the Basis National
Infrastructure 2009–2012 (30 institutions)
5.5.5 Trends in the visual arts
5.5.6 Results achieved by visual arts institutions within the
Basis National Infrastructure 2009–2012
5.5.7 Trends in the film sector
5.5.8 PResults achieved by the film festivals within the
Basis National Infrastructure 2009–2012 (5 institutions)
5.5.9 Trends in architecture, design, and new media
5.5.10 Results achieved by architecture, design, and new media 5.5.11 Trends in the literary world and at libraries
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Appendix
• Classification of culture sector
• Appendix to Section 5 /
Publication information 5
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Culture at a Glance
2013
1
The value of culture for society;
management summary
1.1Introduction
This is the latest edition of Culture at a Glance [Cultuur in Beeld]. This publication provides
an annual overview of trends in the cultural sector, based on research and data made
available by the Ministry of Education, Culture and Science, the national public cultural
funds, sector organisations, and municipalities. This year, in addition to covering various
culture-specific developments and economic trends, Culture at a Glance sets out the
consequences for the cultural sector of the economic crisis and austerity measures. For
the first time, it is also possible to provide a clear picture not only of state-funded
institutions but also those that receive funding from the “G9” cities (Amsterdam, Arnhem,
Eindhoven, Enschede, Groningen, The Hague, Maastricht, Rotterdam, and Utrecht). The
full impact of the austerity measures will only be apparent from next year, however, given
that they took effect on 1 January 2013.
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1.2 Current trends
• Outreach
Cultural institutions are attempting to bring what they offer to the attention of audiences
(and potential audiences) in novel ways. In the case of the performing arts, more and
more events are being staged outside theatres and concert halls. Performances that used
to be put on mainly at festivals are increasingly being staged “on location”, including by
the theatres and concert halls themselves. More and more theatrical performances are
being staged out of doors, but also in such places as office buildings and factories. Operas
and concerts are shown live at cinemas, for example, or on a big screen in a park. Last
year, the TV series Bloed, zweet en snaren [Blood, Sweat and Strings] gave viewers a behindthe-scenes look at the Royal Concertgebouw Orchestra, while dance programmes such as
So You Think You Can Dance and Dance Battle make choreographers household names.
Visual works of arts are also being displayed at a growing variety of locations, for example
at festivals. The number of art fairs focusing on specific art forms such as photography or
drawing has also increased, thus addressing and appealing to a wider audience. The
cultural sector is thus making a considerable effort across the board to reach out and
make itself “accessible” to new audiences.
• Taking it abroad
Globalisation has made international cooperation and export important components for
the cultural sector, which no longer depends solely on the Dutch domestic market for its
revenues. Germany, the United States, and the United Kingdom are the top three foreign
destinations for the sector. The volume of activities abroad is increasing year by year. The
number of visits abroad by Dutch theatre companies has doubled, while Dutch museums
are collaborating more and more closely with their foreign counterparts to loan works for
exhibitions in other countries. While closed for renovation, for example, the Royal Picture
Gallery Mauritshuis (The Hague) organised an exhibition in Japan that attracted an
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average of more than 10,000 visitors a day. Popular music is one of the country’s main
cultural export products, accounting for 100 million euros in 2011. Almost 70% of that
amount was generated by dance music. The literary sector has also been successfully
engaged in international cooperation and export for a considerable time; since 1991, for
example, the number of translations of Dutch works has tripled.
Turnover of “general books” (novels, non-fiction) fell in 2012 by 6.3% compared to 2011.
This includes turnover from sales (1.2 million copies) of e-books, the market share of
which has risen from 1.2% in 2011 to 2.2% in 2012. Book sales did not decline as sharply as
turnover in other sectors of the entertainment and leisure industry, however (CDs, DVDs,
games).
• Greater attention to collaboration with other sectors; more knowledge necessary
Collaboration between the cultural sector and other sectors is the focus of a great deal of
interest. One good example is the collaboration between the culture and healthcare
sectors. Displaying works of art in hospitals can make the patient’s stay more pleasant.
The creative industry is developing all kinds of technical innovations, for example “care
robots” or simulation games to educate and train staff to carry out examinations and
operations. Culture also plays a role in the physical environment, for example by
transforming obsolete buildings and by improving the quality of life of neighbourhoods.
But providing scientific evidence for the social effects of culture is a difficult matter and
requires a better knowledge base.
• Decline and rise in participation in cultural life: a mixed picture
The Netherlands is still one of Europe’s leaders when it comes to people’s participation in
cultural life. It is in the top three for theatre attendance, reading (books), and visits to
museums, art galleries, and historic buildings and monuments. Since the 1980s, however,
visitor numbers have been falling in the more costly and traditional performing arts, for
example orchestral concerts and opera. On the other hand, attendance at cinemas
(including “art cinemas”) and state-funded museums have increased. The reopening of a
number of famous museums attracted large numbers of people, including visitors from
abroad.
1.3 Consequences for the publicly funded cultural sector:
initial impression
Many Dutch people are actively involved in the arts in their spare time, although the
figures do not provide any clear overall picture. According to the Netherlands Institute for
Social Research [Sociaal Cultureel Planbureau], involvement in the amateur arts has
increased somewhat since 1995, to some 48% of the population. The Monitor Amateurkunst
[Amateur Arts Monitor] for 2013 shows a fall from 52% in 2009 to 41% in 2013.
• Cultural sector under pressure from economic trends: commercial market hardest hit
The cultural sector is shrinking at a faster rate than the economy as a whole, with the
sharpest decline being in the commercial segment of the sector. The creative industry has
been particularly hard hit. The slump in the housing market, for example, meant that in
early 2013, architectural firms saw their order books drop to 2007 levels. Turnover in the
first quarter of 2012 was more than 20% down on the corresponding quarter in 2011.
Commercial (non-funded) producers in the performing arts are also feeling the impact of
the recession. Despite an 8.7% reduction in commercial ticket prices between 2008 and
2012, there was a major fall in attendance.
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• Donations to culture also under pressure
The economic crisis made itself apparent in the philanthropic sector in 2011. The overall
decline is also clear in donations to the arts and culture, with a 50% drop in gifts compared to 2009. In that year, donations to the arts and culture totalled 545 million euros;
by 2011, that figure had fallen to 287 million euros. Businesses, in particular, are donating
less. Lottery money and legacies increased between 2009 and 2011, and revenue from
crowdfunding also rose. (These figures concern 2011. The Gift and Inheritance Tax Act
[Geefwet] only came into force in 2012, meaning that its effects are not apparent in these
figures).
• Budget and numbers of institutions
State financing of the Basis National Infrastructure and the national public cultural funds
has been cut from 530 million euros in 2009–2012 to 458 million euros in 2013–2016. Net
funding by local government (the biggest 35 municipalities) and regional government (the
provinces) fell in 2011–2013 from 1.3 billion euros in 2011 to 1.2 billion euros in 2013, a
decline of 9%. It is the provinces that are economising most on culture (down 23%) and
the municipalities least (down 4%).
The state budget for institutions receiving multi-year funding fell by an average of 19%.
The number of institutions making up the Basic Infrastructure decreased from 172 in 2012
to 84 in 2013. This does not mean that all the institutions concerned have ceased to exist;
some of them are now funded by a state cultural fund and/or by a municipality. Most
national public cultural funds are now financing fewer institutions than in the preceding
funding period. The Performing Arts Fund (FPK), for example, is providing 81 institutions
with multi-year funding from 2013; in 2009–2012 the figure was 118.
In the case of the “G9” cities (Amsterdam, Arnhem, Eindhoven, Enschede, Groningen, The
Hague, Maastricht, Rotterdam, and Utrecht), the budget for the institutions that they
fund fell less sharply from 2012 to 2013 than was the case with state funding (an average
of approx. 11%). With a slight drop from 810 to 802, the number of funded institutions
remained more or less the same. The institutions are therefore receiving less funding on
average.
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• Talent development
Where talent development is concerned, there have been a great many changes. In the
current funding period, the 21 production centres for the performing arts [productiehuizen] that were funded in the framework of the Basis National Infrastructure are no longer
receiving any state funding. Of those 21 institutions, 19 are still active. Six received
multi-year funding for their activities in 2013 from the Performing Arts Fund, while 14
received funding from local authorities. The total available budget fell by 16%. New talent
development measures have been introduced and the Ministry is keeping close track of
them.
• Performance of institutions within the Basis National Infrastructure : differences between sectors
and institutions
The turnover of institutions making up the Basis National Infrastructure rose over the
past four years by approx. 8%. There was no structural increase in the percentage of
self-generated revenue, however. After a substantial increase in 2011, that percentage fell
again in 2012 to the level of 2009. Major differences are apparent between sectors and
institutions. In 2012, institutions making up the Basis National Infrastructure had, on
average, a lower percentage of self-generated revenue than those funded by the
Performing Arts Fund or the “G4” cities (Amsterdam, The Hague, Rotterdam, and
Utrecht). This does not apply to all disciplines: institutions in the field of dance, pop/jazz/
world music, museums of cultural heritage and art museums achieved the same percentage of self-generated revenue as those funded by the Performing Arts Fund or the “G9”
cities, or indeed surpassed them in this regard. Ethnology and natural history museums,
theatre companies, and the creative industry are lagging behind.
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Institutions making up the Basis National Infrastructure are in most cases able to put on
the planned productions and performances; a considerable number are even producing
and performing more. Despite this generally favourable picture, there are institutions in
virtually all sectors that are unable to stage the agreed number of performances, and
there are more such institutions than in the preceding funding period. If we also consider
audience and visitor numbers, the picture becomes even more diverse. In the period from
2009 to 2012, for example, attendance at orchestral concerts fell by 5% and at opera
performances by 9%. Putting on large numbers of performances has enabled the big
theatre companies to keep attendance stable. The picture in the heritage sector is also a
varied one. The number of visitors to state-funded museums increased by 14% in the
2009–2012 funding period.
1.4 Tracking trends
The Ministry of Education, Culture and Science will keep close track of trends in the
cultural sector over the coming years. For this edition of Culture at a Glance, the Ministry
has therefore collaborated more closely than in the past with the major cities, sector
organisations and public cultural funds. This has led to a publication that enables the
Ministry and other parties to formulate and revise policy based on reliable data. That data
also gives cultural institutions a good basis for emulating groups of fellow institutions in
the near future. The Ministry therefore plans to continue collaborating with the various
parties in this respect and to build on that collaboration going forward.
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2013
Culture at a Glance
2
The value of culture
2.1 Introduction
In June 2013, the Minister of Education, Culture and Science, Jet Bussemaker, submitted a
memorandum to Parliament – Cultuur beweegt [Culture Moves] – setting out her views on
the arts and culture.1 In her memorandum, the Minister argues in favour of a wide-ranging appreciation of culture, and makes a distinction between the intrinsic, the social, and
the economic value of culture. The intrinsic value concerns the significance of culture for
the individual. The social value is determined by the benefits of culture for society as a
whole. The economic value is the contribution that culture makes to employment and to
the country’s gross domestic product.
Viewed in this way, culture – with its individual, social, and economic components – is a
unifying factor within society. It offers people the opportunity to share individual and
collective customs, attitudes, and experiences with one another. It reveals similarities and
differences visible and provides material for discussing them. The active involvement in
culture that is necessary for this begins with the individual’s interest in culture: for
relaxation and entertainment, as a sounding board for personal development, or as a
profession and source of income. Government is well aware of the significance of culture
as an individual, collective, and also economic good. It supports the production and
dissemination of culture and monitors its quality and accessibility.
The Minister considers that artists and cultural institutions derive their raison d’être
primarily from their relevance to society. Her policy therefore assigns priority to the social
value of culture. Culture is increasingly part of a social agenda and the importance of
creativity and innovation is increasing. In many areas, Dutch society finds itself confronted by new and complex problems, for example regarding sustainability, mobility, ageing,
and population shrinkage. New problems demand innovative solutions. With their
creativity and imagination, artists, designers, and architects can make a major contribution to finding those solutions.
This social significance of culture is still insufficiently recognised. Culture can play a
greater role in tackling the issues facing society. The policy pursued by the Minister
therefore aims to encourage cross-fertilisation between the arts and culture and other
sectors. This means an open and entrepreneurial spirit within the cultural sector and the
creative industry, with “clients” – government and other civil-society players – being
prepared to abandon old patterns and to engage in new kinds of cooperation.
Culture is significant for many social and professional sectors. Two of these – healthcare
and the design of our living environment – are dealt with below. The role of culture in the
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Ministerie van Onderwijs, Cultuur en Wetenschappen, memorandum: Cultuur beweegt (10 June 2013)
http://www.government.nl/documents-and-publications/letters/2013/10/15/culture-moves.html
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healthcare sector has developed from therapeutic applications into a much broader range
within which culture is valuable to both patients and personnel. Culture has long been a
significant factor in the form, technology, and process of designing and redesigning our
living environment, and its role continues to evolve. A number of practical examples from
within these two sectors can help understand the various ways in which the arts and
culture can be of value to society.
2.2 Culture in the care sector
In the Netherlands, collaboration between the cultural sector and care goes back a long
way. One familiar example is the display of works of art in hospitals as a means of making
the patient’s stay more pleasant.
‘BETER’
The project research question was: Does art have a positive effect on people’s state of
health? We conducted a number of different studies. For example we developed an art
route through the hospital, an ECG test, and wellbeing surveys in the treatment units.
Many people agree that art enriches our lives and must therefore be good for our health.
But is there any hard data to prove it?
The project covered the entire hospital,3 including the waiting rooms, the corridors, the
treatment areas and a separate laboratory. We displayed works of art in all these areas and
invited people to inspect them and think about them. The survey showed that people felt
happier with art around them. In fact, they kept coming back. It was almost like a community centre. The hospital became a place where people received attention and where they
could chat too.
The BETER Consortium (beter = better), a partnership between artists, care providers
and researchers, investigated the impact of art and “art placebos” on health. Martijn
Engelbregt2 headed the consortium.
“When I got sick myself, I discovered just how artificial our approach to health can be at
times. We treat illness in a forced manner that is very alien to our basic nature. If all my
attention and energy go into fighting the illness, then all I’m doing is battling myself. When I
started paying attention to my health instead, I was able to relax and immediately started
feeling better too. I believe that we need to de-stress for our health, and that art can help us
do that. I think our BETER Consortium is the first step in a movement that can spread
throughout the healthcare system.
It was nice that the hospital was so enthusiastic about it. That opened a lot of doors. But it’s
quite another thing for a hospital to make the first move and pro-actively approach artists.
Personally, I think it’s important not to sit around and wait for a commission. Artists can
take the initiative themselves. If we think that things can be done differently, then we
shouldn’t just wait around until others see the light too.”
BETER bridged the gap between care, science, art, and society. Its aim was to involve as
many people as possible from all walks of life and encourage them to think about things
like: What’s healthy for me? How do I organise my life so that I feel better?
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Interview with Martijn Engelbregt, director of the BETER Consortium, 18 July 2013.
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Haaglanden Medical Centre.
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Culture in the care sector aims to increase the quality of life of those who are dependent
on care, for example elderly people in a poor state of health and with decreased mobility.
The creative industry is developing all kinds of technical innovations, for example “care
robots”, social media for innovative DNA applications, and simulation games to educate
and train staff to carry out examinations and operations. More traditional kinds of
cultural expression are also utilised, for example music and the visual arts. These promote
relaxation, personal development, and a sense of purpose for people with social or
physical disabilities. In this way, culture helps maintain social contacts and improves
mental health.
‘Bedside concert’
One very special moment was when the musicians played at the bedside of a lady who
had breathing difficulties. She was in a bad way, so we asked her once more whether she
really wanted the music, just to be sure. And she did. She listened with her eyes closed
and when the violinists were done, she exclaimed ‘Wonderful!’ It was moving for both the
patients and the musicians. It takes the patients away from the world of the hospital for a
little while.”
Last Christmas, Jeeves – a commercial provider of business, hospital, and senior care
services – gave eight of its institutional clients, all hospitals, a unique gift to thank them
for their custom: it brought in musicians from the Rotterdam Philharmonic Orchestra for
a series of “bedside concerts”. For example, two of the orchestra’s violinists performed
at patients’ bedsides at the Albert Schweitzer Hospital. The music was therapeutic for
patients and helped transport them temporarily to a more pleasant place.
First violinist Cor van der Linden of the Rotterdam Philharmonic Orchestra reflects on
his experience. 5
“It was fantastic! We played duets on the wards. I volunteered because it was such a
wonderful initiative. We rehearsed a variety of short compositions in advance and played
them at people’s bedsides, very close to them. It was moving to see how much the
patients enjoyed it. One memory that sticks out is when I played Sonny Boy for a sick lady.
I couldn’t have chosen better: it had been her deceased husband’s favourite song. She
was deeply affected.
Vico de Graaf (hospitality coordinator at the hospital) and Frank van den Elsen (hospital
Communications Adviser and Press Spokesperson) talk about the bedside concert
series. 4
“The hospital does a lot with music. For example, we had a children’s choir perform in the
foyer and a popular TV show about classical music filmed here. People really enjoy this
kind of distraction. And music is therapeutic. The Rotterdam Philharmonic concerts were
special because the musicians played right on the wards, and they also took requests.
People got emotional. I saw quite a few handkerchiefs dabbing eyes. The music brings
back memories and stirs up emotions.
The Rotterdam Philharmonic Orchestra is passionate about innovation. I think we excel at
it. We have developed all sorts of activities to reach out to people, and increasingly we’re
taking the music directly to them.
We asked the patients ahead of time whether they minded having a bedside concert.
Those who didn’t mind agreed to leave their doors open, and those who did mind agreed
to close theirs. Most of the doors were left open.
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Interview with Vico de Graaf and Frank van den Elsen, 23 July 2013.
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This experience has inspired me to play at the nursing home where my parents live in my
spare time. It gives me and the people I play for enormous joy!”
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Interview with Cor van der Linden, 23 July 2013.
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The cultural sector also contributes to healthcare by creating a familiar and inspiring
patient environment. Architects, artists, and conservationists work to create high-quality
designs and well-maintained residential and healthcare facilities. To an increasing extent,
their designs take account of customs, cultural preferences, and lifestyles. An internationally renowned example is De Hogeweyk in the town of Weesp, which provides living
accommodation for elderly people with dementia. Residents are housed according to
their lifestyle, in an environment where there is time and scope for the cultural dimensions of that lifestyle, and in an atmosphere within which people can recognise, communicate with, and visit one another. This arrangement offers them a sense of security and
fosters mutual understanding. At De Hogeweyk, scope for culture is an important factor in
the well-being of both the residents and the personnel. The design – by the architectural
firm of Molenaar&Bol&VanDillen – was nominated for the Hedy D’Ancona Prize for
Outstanding Architecture for Care Facilities (awarded by the Creative Industries Fund NL).
‘Unforgettable Van Abbe’
Our main challenge is to build trust with organisations like Alzheimer Netherlands,
healthcare institutions such as Vitalis and Archipel,7 and the patients’ family and friends. It
helps that we’re cooperating with the Stedelijk Museum, because together it’s easier to
convince people of the importance of the programme. After all, it doesn’t really fit in with
mainstream ideas of what a museum is supposed to do. Archipel published a front-page
article about the tours in its magazine. That tells me that it has confidence in the
programme, but also that the programme satisfies many people’s needs.”
More and more people are finding themselves dealing, either directly or indirectly,
with Alzheimer’s disease or another form of dementia. Since April 2013, the Van Abbe
Museum in Eindhoven and the Stedelijk Museum in Amsterdam have collaborated on
a special programme for Alzheimer sufferers and their carers. Known as
“Unforgettable Van Abbe”, the programme consists of interactive guided tours of the
two museums. By looking at art interactively, people living with Alzheimer’s have the
opportunity to express themselves and enter into dialogue with those around them.
Daniel Neugebauer, Head of Marketing, Mediation and Fundraising at the Van Abbe
Museum and one of the initiators of “Unforgettable Van Abbe”, had this to say.
“The main idea behind the programme is that everyone should be able to visit the
museum. Having Alzheimer’s is no reason to stop participating in cultural life. The
programme also focuses on both the Alzheimer sufferer and his or her carer. The point is
for both of them to have a pleasant and relaxed day together.
Director Charles Esche6 talks about the programme and what the Van Abbe Museum
hopes to achieve.
“The ‘Unforgettable Van Abbe’ programme is entirely in line with our belief that museums
should engage in society. We want to mirror society, and offer visitors a place to meet and
encounter people from all walks of life. The Alzheimer tours usually take place on
Mondays at the moment, when we’re closed to other visitors. That gives the participants
the time and quiet they need to look at the artworks. Eventually, I’d like to integrate the
tours more by organising them during normal opening hours. A visitor who enters the
museum to enjoy art and encounters a group of Alzheimer patients will experience the
museum differently too. And the Alzheimer sufferers will feel like they are an important
part of society.
6
Double interview with Charles Esche and Daniel Neugebauer, 25 July 2013.
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We see that art stimulates people, reminds them of the past, or simply opens the door to
their imagination. One man began to sing songs he knew growing up while he was
looking at a work of art. There isn’t enough empirical evidence yet to say precisely how
art affects Alzheimer’s. Research on a similar programme at the MoMA in New York
shows that people are in a better mood after a tour, but we don’t really know what
happens in the brain. We have to take things a step further and start talking to artists and
universities about carrying out research.”
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Vitalis and Archipel are patient care and nursing organisations that operate in Eindhoven and environs.
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The positive attitude towards culture in the care sector is based mainly on the experience
of patients and carers. They indicate that culture helps create a pleasant atmosphere and
has a beneficial effect on the condition of patients. Moreover, research increasingly shows
that culture has a positive impact on well-being, healing, and recovery. The research
literature is still too limited, however, and also does not present any clear overall picture.
It is not yet possible to draw any robust conclusions regarding the long-term effects of
culture on well-being and health, whether preventive or curative. Actually demonstrating
effects will require more longitudinal and experimental studies.
More and more artists also want to tackle environmental issues. Artists, writers, architects, and designers can ignite a process of change with their different ways of seeing,
thinking, and imagining. An example of this is the “smart highway” project by Studio
Roosegaarde, which works with the Heijmans construction firm to develop new
approaches to lighting motorways.
2.3.1Transformation
Cultural activities act as a catalyst in transforming obsolete buildings and districts so that
they can be used in a new and contemporary way. Artists often feel attracted to deserted,
rundown locations that offer them an affordable place to live and work, often with its
own unique character. Once these places are “discovered” and their image improves,
investors, businesses, and new residents start to taken an interest in them. As a result, the
area may become more socially, culturally, and economically significant for the town.
These processes are often driven by bottom-up initiatives, but municipalities and
property owners also encourage them, for example by introducing an “incubator policy”
or by identifying temporary uses for office buildings, churches, or industrial heritage sites
scheduled for conversion.
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2.3.2 Municipal policy
Many Dutch municipalities utilise culture as a means of improving urban areas. The
national government has encouraged this in recent years, for example by means of the
Cultural Incentive for Urban Renewal and the Rezoning and Redevelopment Incentive for
the “priority neighbourhoods” [krachtwijken]. Municipalities utilise culture in various
different ways, for example events; the maintenance, repair and conversion of distinctive
buildings; better design of buildings and public areas; temporary or permanent accommodation for artists; and low-threshold cultural facilities. There have been a number of
studies of the significance and effects of deploying culture for the purpose of neighbourhood and area development, for example studies and publications by ABF Cultuur (2007),
the Netherlands Bureau for Economic Policy Analysis (CPB) (2010), and the Cultuurimpuls
Foundation in collaboration with the Nicis Institute (2011). This research shows that the
ability of towns and cities to reinvent themselves is an indicator of economic success.
Culture plays an important role in propelling urban renewal. The presence of culture in
the form of historic buildings and iconic architecture, amenities, and activities makes an
important contribution to a neighbourhood’s quality of life. Culture also creates value, for
example as evidenced by the positive effect of historic buildings on property prices in
their immediate vicinity. Section 4 looks more closely at the role of culture in value
creation.
2.3 The living environment
Culture also plays a role in more physical social issues, for example how we deal with the
living environment. Cultural events and accommodation for artists are tried and tested
tools in urban and regional development. In many municipalities, policies geared towards
creating neighbourhoods with a good quality of life concentrate not only on the factors
“clean, sound and safe” and the neighbourhood economy, but also on improving the
cultural climate. This applies in particular to neighbourhoods that are redeveloped in the
context of urban renewal. In the 1980s and 90s, the emphasis was on the redevelopment
of city centres and nineteenth-century neighbourhoods. That emphasis has now shifted
to pre-war and post-war neighbourhoods with an accumulation of physical, economic,
and social problems.
2.4 Research and evidence
Providing scientific evidence for the impact of culture on society is a difficult matter. It is
often difficult for researchers to demonstrate not only a positive correlation but also a
causal connection, and to link the budgets and measures deployed directly to the results.
Much research is still in its infancy, for example concerning the significance of culture for
creative development. Demonstrating the social effects of culture demands a better
knowledge base, and that, in turn, requires further advances in research and research
methodology. In her cultural policy memorandum, the Minister makes clear that she
attaches great importance to increased cohesion between cultural, social, and scientific
trends. She therefore wishes to improve the relationship between science and culture, for
example by means of a programme to be set up within the Academy of Arts, initiated by
the Royal Netherlands Academy of Arts and Sciences (KNAW).
21
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2 \ The value of culture
2.4.1 Survey knowledge
In anticipation of this, the cultural sector can already systematically collect knowledge
regarding the social impact of culture. Although its “evidence-based” compass still has
limited functionality, it can chart the relationships between culture and other sectors
based on “evidence-informed” models and best practices. Some examples include the
What Works in the Neighbourhood [Wat werkt in de wijk] project database and the Community
of Practice Cultural Incentive. What Works in the Neighbourhood was initiated by fourteen
public housing associations and Aedes, an umbrella organisation for such associations.8 It
enables those who play a professional role in neighbourhoods to find relevant knowledge
about the effectiveness of local interventions and to develop and make available such
information for their own organisation and for others. This is a more effective way of
substantiating the experiences and convictions of those involved. Sharing knowledge of
what does and does not work – and why – is then less a matter of merely personal
observation. The Community of Practice Cultural Incentive follows the same kind of
pattern. This is an initiative by parties that include De Stad BV, ABF Cultuur and the
Cultuur-Ondernemen Foundation. It is a learning network in which participants in various
projects share practical know-how and experience so as to improve the quality, feasibility,
and results of projects.
In this context, the sector itself has work to do, not only to develop relevant civil-society
groupings but also to make them visible. After all, artists and cultural institutions derive
their raison d’être not so much from the sector itself, but from its relevance to society.
8
www.watwerktindewijk.nl
ended up staying. It’s a city with an ever-expanding port that was destroyed and rebuilt in
the twentieth century and therefore looks and is very modern. It has a lot of space for
newcomers, and it offers them a lot of opportunities. As Rotterdam’s municipal museum,
we realise that our mission is to document not only the past but also history as it is
unfolding right now. We took that idea into the neighbourhoods. It’s very important to
explore and preserve this history together with the Rotterdammers. We don’t go in there
as know-all experts, but with the aim of genuinely collaborating. In other words, we want
to develop presentations in partnership with local people and get them to help us
interpret the found objects and the stories associated with them. For example, we invited
local people to view a selection of objects with us before the exhibition and to share their
stories and ideas with us. We documented that process, recording their stories and
adding them to our collection. The objects in the exhibition come from many different
periods and sources. People feel they have been recognised and appreciated as local
residents when they see ‘their’ objects presented as part of the city’s history. We’ve
noticed that the connecting role we want to play really does work.
The tension between traditional exhibitions and our approach is leading to new kinds of
exhibitions. It’s not simply about tea service that happen to belong to Rotterdammers.
It’s about Rotterdam’s identity.
The link between past and present, and between the smaller, personal story and the city’s
larger narrative, is very important to us. We want to help connect up local residents so
that they get to know one another better. That’s how we see our role as a municipal
museum.”
‘Real Rotterdammers’
“Real Rotterdammers” is the first major exhibition put on by the Rotterdam Museum
after the Schielandshuis – one of the museum’s two buildings – closed its doors in
early 2013. The exhibition is being held at an exhibition hall located in the middle of
Rotterdam’s port district, the source of the city’s fame. It explores the identity of the
city’s people and the origins of their behaviour, appearance, work, language, food,
beliefs, and leisure pursuits. In a décor created by Thomas Rupert, theatrical designer
for RO Theatre and the Conny Janssen Dance Company, Rotterdam natives past and
present tell their stories, illustrated by objects from the museum’s collection. Nicole
van Dijk,9 the exhibition’s curator and project manager, has this to say.
“Rotterdam has a very interesting modern-day story. It’s typified by the many people who
have washed up here down through the years, each with his or her own history, and
8
9
Interview with Nicole van Dijk, 12 July 2013.
22
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Hoofdstuktitel hier
Culture at a Glance
3
Cultural education and participation in
cultural life
2013
3.1 Introduction
This section focuses on cultural education, involvement in cultural life, the utilisation of
culture, and support for culture by the Dutch population, as well as what research reveals
about all these. It discusses cultural education both at school and elsewhere, receptive
participation in cultural life (including via the media), the amateur arts, voluntary work,
and membership of cultural societies (including “Friends of ...”).
3.2 Cultural education at school
3.2.1 The importance of cultural education
The importance of cultural education for children’s overall development is not in dispute.
Cultural education is one of the statutory tasks of primary and secondary schools.
Virtually everyone in the Netherlands finds it important that children learn about the arts
and culture,10 and almost four out of five consider this to be a necessary component of
the school curriculum. Most political parties agree on this point.11
The Minister also endorses the significance of cultural education at school in her Culture
Moves memorandum, and she intends maintaining the “Culture credit card” system for
secondary school pupils. In consultation with the State Secretary for Education, the
curriculum for “Cultural and Artistic Education” (CKV) is to be revised. The Minister also
intends taking steps to improve the quality of cultural education at primary schools. In
collaboration with the State Secretary, administrative agreements will be concluded with
the 35 largest municipalities towards the end of 2013 with a view to improving the quality
of cultural education over the course of the next ten years.
• What is cultural education?
Cultural education involves pupils not only acquiring knowledge but also developing their
creativity and a spirit of enquiry. Cultural and heritage education contribute to shared
historical awareness and a shared identity. There is growing acknowledgement that
cultural education is important for the development of creativity and innovativeness –
skills that many business people, policymakers, and researchers consider indispensable
for the continued growth of our knowledge society.12
10
11
12
24
/
Tepaske, E. T. et al., De betekenis van kunst en cultuur in het dagelijks leven (2010). p. 23 ff.
See, for example, Boekman 95 on Sociaal-liberaal cultuurbeleid (June 2013).
Council conclusions on fostering the creative and innovative potential of young people. EYCS Council (2012). Topteam
Creatieve Industrie, Creatieve industrie in topvorm (2011).
25
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3 \ Cultural education and participation in cultural life
\ >
• What are the effects of cultural education?
The growing interest in cultural education, both in the Netherlands and abroad, is
creating a powerful incentive to study its effects.13 The Organisation for Economic
Co-operation and Development (OECD) recently published Art for Art’s Sake?, a review
study of scientific research on the potential transfer effects of cultural education.
“Transfer effects” means the extent to which cultural education influences pupils’
performance in other school subjects and “skills for innovation”. Do music lessons make
children cleverer, for example, and do visual arts lessons make them more creative?
3.2.2 Cultural education at school
What is the current situation as regards cultural education at Dutch primary and secondary schools? The previous edition of Culture at a glance described the situation from the
perspective of cultural policy. To summarise: education has made progress in terms of the
underlying conditions for cultural education, but greater attention needs to be paid to the
quality of the school subject itself. This is apparent from research and from a joint
advisory report by the Council for Culture [Raad voor Cultuur] and the Education Council
[Onderwijsraad].17 In 2013, the Dutch Inspectorate of Education [Inspectie van het
Onderwijs] found that between 1994 and 2012 there had been a decline in the amount of
time allotted to the expressive arts in years 3 to 8. The number of specialist music
teachers has also fallen. A few specialist music and visual arts teachers have still been
appointed at primary schools but the vast majority of lessons are now given by the class
teacher.18 The Quality Cultural Education [Cultuureducatie met kwaliteit] programme helps
schools and cultural institutions identify and reinforce that quality in cultural instruction.
Important improvements are the development of a continuous learning pathway in
cultural education, based, among other things, on Culture in the Mirror [Cultuur in de
Spiegel],19 the Curriculum for Fine Arts and Design drawn up by the Association for Cultural
and Arts Education (VONCK), and the new “Arts ID” learning pathways devised by the
Rotterdam Foundation for Arts Education (SKVR). The agenda also includes continuing
professional development for primary school teachers and the development of a tool for
assessing pupils’ learning outcomes. The Dutch Inspectorate of Education has been asked
to draw up a report on cultural education by 2015. The Ministry is working closely with the
municipal and provincial authorities on this programme.
The OECD’s report concludes that a great deal of research is still restricted to establishing
correlations and that causal connections have not yet been sufficiently demonstrated.14 If
there are in fact effects, they do not as yet offer any support for the belief that cultural
education has beneficial effects on academic performance, for example in arithmetic,
mathematics, and language. The effects of cultural education on creativity and critical
thinking, and on such things as self-confidence, persistence and co-operation, have also
not yet been investigated sufficiently to draw conclusions. It has been established,
however, that cultural education contributes to making children well rounded and to
preparing them for creative work within society.15
Experimental studies indicate that there are, in fact, transfer effects. Music education
boosts children’s IQ, their speaking and listening skills, and their scholastic achievement.
The training of listening skills has a positive effect on language skills. This can be
explained in part by the concentration required for music lessons, while IQ levels and
scholastic achievement both benefit from the academic approach to music education.
One proven effect is that of drama training on verbal skills. There are also a number of
studies that suggest a link between creativity and drama and dance education. Here too,
however, the general thrust is that it is too early to draw firm conclusions; there has been
too little research for that to be done.
For the authors of Art for Art’s Sake?, the justification for cultural education is to be found
not in any possible side effects but in the intrinsic value of the arts and culture and the
associated patterns of thinking. To begin with, cultural education imparts artistic skills
and knowledge of the arts. Effective cultural education contributes to skills that arise
directly from the domain of the arts, for example perception, imagination, power of
expression, a spirit of enquiry, tenacity, the ability to reflect, and communication skills.
According to these authors, cultural education can lay the basis for professional training
and advanced programmes leading to creative work within society. This applies not only
to professions in the arts sector itself; science and industry also demand skills that are
inherent in the arts and culture and that can be developed by means of arts education.16
Ministerie van Onderwijs, Cultuur en Wetenschappen, Cultuur in Beeld, The Hague (2011), pp. 91–92. See also: Oomen, C., et
al. Cultuureducatie in het primair en voortgezet onderwijs. Monitor 2008–2009 (2009). Timmermans, P. & S. Plantinga,
Cultuureducatie in het basisonderwijs (2012).
18
Inspectie van het Onderwijs, Over de volle breedte, Stand van zaken met betrekking tot het onderwijsaanbod in het
basisonderwijs (2013), pp. 11–12.
19
Heusden, B. van, Cultuur in de Spiegel, naar een doorlopende leerlijn cultuuronderwijs (2010)
17
See, for example, Mieras, F. Wat muziek doet met kinderhersenen (2010).
See also Oosterhuis, R., Slimmer en succesvoller dankzij de kunst? (2012).
15
Winner E., T.R. Goldstein & S. Vincent-Lancrin, Art for Art’s Sake? The Impact of Arts Education (2013).
16
See http://www.lkca.nl/onderzoek/OESO_rapport_effecten_kunstonderwijs.asp
13
14
26
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27
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3 \ Cultural education and participation in cultural life
\>
We will now take a look at some practical aspects of cultural education at schools: music
at primary schools, the Dutch Canon of History, the Culture credit card at secondary
schools, and reading. We will do this on the basis of recent research. Finally, we will
review research on the role of primary school managers in cultural education.
‘The importance of arts education’
Het Filiaal is the largest theatre company for families and primary schools in the central
Netherlands region. It puts on a wide range of different shows, ranging from popular
Broadway-style productions at theatres to small, intimate performances at schools or
on location. Monique Corvers, the artistic manager, and Marjolein van Bommel, the
commercial manager, talk about arts education.20
“Creativity is one of the most important twenty-first century skills, and arts education is
the key. We believe our job is to inspire and support education with our shows and
performances. Art broadens children’s minds and helps them look at the world around
them through different eyes. By creating theatrical productions that reflect the interests
and experiences of pupils, we stimulate their emotional, creative, cognitive, and social
development and their communication skills.
Everything we do is based on the artistic content. We build the best bridges we can to
schools and do whatever is needed to make our performances fit in with the lesson
programme. We tailor our educational activities as much as possible to the various school
subjects, be they geography, history, and so on. That way the curriculum becomes more
integrated.
20
For example, we’ve just finished a project with a primary school related to our Einstein,
Faster Than Light show. The pupils worked with an artist on building replicas of planets. We
then built a replica of the entire solar system in the playground. Each child moved the
earth to the position that it occupies in the solar system on his or her birthday. The
teacher didn’t think they’d manage it, but they all did. A lot of children really blossom
with a more creative approach to learning.
Like other theatre companies in the Basic National Infrastructure, we see the inclusion of
cultural education in the primary school curriculum as a huge opportunity. Dutch youth
theatre is highly regarded abroad. Our company alone will be performing in Australia,
Austria, Belgium, Germany, Ireland, Luxembourg, Russia, and Switzerland this year.
Ironically, Dutch schools are generally contracting fewer and fewer of these special
performances, even though they can take their classes to see a fabulous show – the kind
one sees on Broadway – right here in their local theatre. And the show may very well turn
out to be more than just a one-off encounter, but can have long-term benefits for all sorts
of subjects and extramural activities.”
Interview with Monique Corvers and Marjolein van Bommel, 16 August 2013.
28
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3 \ Cultural education and participation in cultural life
3.2.2.1 Music education at primary school
In 2009, the Cultural Participation Fund began implementing the Music in Every Child
[Muziek in ieder kind] programme. This programme provides support for collaboration
projects aimed at improving the quality of music education at primary schools.21 In
addition, 2010 saw the launch of the Music Counts [Muziek Telt] campaign by the former
“Kunstfactor”, the Cultural Participation Fund, and Music Centre Netherlands
[Muziekcentrum Nederland]. This campaign aims to draw attention to the importance of
music education at primary schools. An opinion poll was carried out in that connection on
the importance of music education; this showed that more than four fifths of the Dutch
population consider that music lessons are important for children.22
and the lower years at secondary schools. Almost all school history courses have now
included the Canon in their teaching materials.24
• Research on music education
Research was carried out within the context of the Music in Every Child programme and the
Music Counts campaign on the current state of primary school music education. Schools
employee only a few specialist teachers with a background in music education. Music
education is given mainly by the class teacher, sometimes with the assistance of external
(instrumental) music teachers. Lessons focus primarily on technique and listening skills
and far less on interpretation and aesthetic skills. There is also no consensus on what should
actually be taught. Class teachers, for example, tend to emphasise general music education,
whereas specialist music teachers emphasise instrumental skills to a greater extent.
• Need for more music education training
In projects involving external music teachers, collaboration between the external teacher
and the class teacher on the actual subject matter remains limited. Class teachers tend to
focus on providing practical support. There is also little collaboration between schools
and orchestras or music schools. Once the project has finished, the music lessons usually
cease too. Many class teachers are uncertain of their abilities when it comes to teaching
music, and they therefore focus less on certain aspects. Conversely, music teachers
employed at cultural institutions who also give lessons at schools often do not have the
necessary pedagogical and didactic skills for whole-class teaching. Specialist music
teachers (with a background in music education) do have the skills, but spend little time
teaching at schools, relatively speaking. Researchers conclude that there is a pressing
need for training in music education, both in teacher training programmes and for current
teachers.23
• Increasing use of the Canon
Five years after it was introduced, the Canon is now being used by 63% of Dutch schools.
That is considerably more than in 2008, when only 33% were using it.25 Schools that do
not use the Canon (36%) say that the main reason is that the topics it covers have already
been incorporated into their teaching. Of those 36%, 17% say that they do intend starting
to use it. Only a few schools give other reasons for not using the Canon. They say that
they do not have any suitable ways of using it, that they disagree with the selection of
topics that it covers, or they do not have an interactive whiteboard (IWB) in the classroom
(each 2%).
The Internet plays an important supportive role. Schools are particularly familiar with the
Dutch Canon website (www.entoen.nu), with 64% saying that they sometimes access or
use one or more of its components (2008: 13%). Schools collaborate extensively with
cultural institutions when using the Canon in their teaching, primarily with libraries (75%),
centres for cultural education (60%), and museums (50%). In general, primary schools
have a very positive opinion of the Canon as a pedagogical concept (see Table 3.1).
Table 3.1 Opinion of the Canon as a pedagogical concept (N= 363)26
---------------------------------------------------------------------------------------------------------------------------------------------------------------------The canon...
Yes
? No
---------------------------------------------------------------------------------------------------------------------------------------------------------------------• helps inculcate knowledge of Dutch history and culture
83% 10% 6%
.................................................................................................................................................
• can be used effectively in education
• has well-chosen components
18%
65%
27%
• meets a need in education
/
7%
53%
30%
17%
.................................................................................................................................................
• offers welcome guidance for my lessons
51%
28% 20%
.................................................................................................................................................
• appeals to pupils
47%
40%
13%
.................................................................................................................................................
• strengthens our national identity 43%
38%
18%
.................................................................................................................................................
• helps us to overcome gaps in education
40%
41% 20%
.................................................................................................................................................
• is superfluous 14%
14%
72%
.................................................................................................................................................
21
30
6%
.................................................................................................................................................
3.2.2.2 The Dutch Canon of History at primary schools
A focus on heritage is one of the core activities for artistic orientation and for the school
subject of history. The Dutch Canon was presented in 2007 and reviews the history of the
Netherlands in words and images, in the form of fifty “windows”. Its aim is to introduce
historical cohesion and to improve pupils’ chronological understanding. Since the
2010/2011 school year, the Canon has been one of the core objectives for primary schools
Fonds voor Cultuurparticipatie, Er zit muziek in ieder kind http://www.cultuurparticipatie.nl/reports/muziekpub.site.pdf
(2013). Jans, M. et al., Muziek in ieder kind (2012).
22
Wils, J. Muziek telt! (2010).
23
Schilt-Mol, T. van, Muziekles op de basisschool: meer en beter? In Jaarboek Actieve Cultuurparticipatie 2012. Fonds voor
Cultuurparticipatie, Utrecht (2012), pp. 37–50.
77%
.................................................................................................................................................
More information is available on the associated website: www.entoen.nu.
Haalen, J. van & M. Kieft, De Canon in het basisonderwijs, Utrecht. Oberon, September (2012).
26
Adapted from Haalen, J. van & M. Kieft, De Canon in het basisonderwijs, Utrecht: Oberon, September 2012.
24
25
31
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3 \ Cultural education and participation in cultural life
\>
The highest level of agreement was with the statement “The Canon helps inculcate
knowledge of Dutch history and culture”, with some eight out of ten schools agreeing.
Schools were also enthusiastic about using the Canon effectively in education (in 2008,
that statement in fact had the highest level of agreement). Only a minority consider the
Canon to be superfluous.
3.2.2.3 Culture credit card
The aim of the Culture credit card is to encourage participation in cultural life by secondary school pupils (VMBO, HAVO, VWO, and VSO schools and Practical Education (PRO)).
The Culture credit card is not obligatory but since it was introduced in 2008–2009 virtually
all secondary schools have made use of it. Each pupil receives a personal cultural discount
pass with 15 euros worth of credit on it. For the first three years, the VSB Fund added
another 10 euros for pupils taking the subject of “Cultural and Artistic Education”. The
credit becomes available when the pupil activates the pass. In the 2011–2012 season, 89%
of all registered pupils did so. A total of just under 1300 cultural institutions had signed up
for the initiative in that season.
A number of spending trends have become apparent in the four school years since the
Culture credit card was introduced (2008–2012). Most spending was on theatre and
dance, by 30% of pupils. Art centres took second place, with approx. 20%. Spending on
cinema and art cinemas declined, with the budget falling from 8% during the first school
year to 4% in the final school year. In the case of museums, there was a slight rise to 10%.
Finally, the category of cultural and educational services saw growth from 7.5% to 12.5%.
It is striking that spending on music (including popular music) was no more than a few
percent.27
The more children enjoy reading, the greater the effect that it has.30 Reading aloud to
children also has a positive effect on their text comprehension, vocabulary, and spelling.31
A survey conducted in the context of Reading Aloud Year [Jaar van het Voorlezen] showed
that 51% of all people in the Netherlands sometimes read aloud to children or adults.
They almost unanimously find doing so “fun” (91%) and “useful” (96%). A majority of
those who read aloud (58%) find time to do so at least once a week and 15% even do so
every day. In three quarters of cases, people read aloud for between 5 and 15 minutes. Of
those who never read aloud to others, 41% still say that it is “fun”, while 75% say that it is
“useful”. Most people in the Netherlands are aware that reading aloud is beneficial.32
• The Art of Reading
The Dutch Reading Foundation [Stichting Lezen] is the national knowledge centre for
reading promotion and literature education. Since 2008, it has collaborated with the
Public Libraries Sector Institute [Sectorinstituut Openbare Bibliotheken] on the Art of
Reading [Kunst van Lezen] programme to promote reading. Between 2012 and 2015, the
programme comprises three components: strategic reading promotion networks,
BoekStart, and the Library at School. Strategic reading promotion networks form the core of
“Art of Reading”. During a long-running campaign, library directors attend a variety of
workshops and regional conferences preparing them for collaboration with municipalities
and institutions (Centres for Family and Children (CJGs), childcare organisations, and
schools). The aim is to ensure the systematic, long-term incorporation of BoekStart and
Library at School into the policy pursued by all the partners.
In the BoekStart programme, the parents of newborn babies receive a letter containing a
voucher that they can cash at a local library. The project now operates at 90% of libraries,
with 41% of parents actually cashing the voucher. Of all parents with a “baby subscription”, 45% are active and borrow a baby book at least four times a year.33 The Library at
School system has now been introduced at more than 700 primary schools. In secondary
education, the system will begin in 2013 with a series of pilot projects.
During the 2012–2013 season, it was uncertain whether the Culture credit card would
continue to exist. The first Rutte Government decided to terminate funding for the
scheme. Minister Bussemaker has made government funding available again for Culture
credit card for the next ten years.28
3.2.2.4 Promoting reading
A number of studies demonstrate a relationship between reading and educational
success.29 A good command of language and reading skills turn out to be good predictors
of academic success and the social position that pupils achieve after graduation. It is
therefore important to promote reading among children and young adults.
CJP, Eindrapportage Cultuurkaart 2011–2012.
Cultural policy memorandum Cultuur beweegt (10 June 2013).
29
Notten, N., Parents and the Media (2011) & Kortlever, D.J.M. & J.S. Lemmens, Relaties tussen leesgedrag en Cito-scores van
Kinderen (2012).
Huysmans, F., Van Woordjes naar wereldliteratuur (2013).
Bus, A.G., et al. Een meta-analyse naar intergenerationele overdracht van geletterdheid (1994).
32
http://www.leesmonitor.nu/newsitem/808/
33
Evaluatie BoekStart, Stichting Lezen, 2012.
27
30
28
31
32
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‘Helping children enjoy reading with the Reading Express’
In the Reading Express programme [VoorleesExpress], a group of enthusiastic volunteers help children
with a language deficiency by reading to them in their own homes over a twenty-week period. The
volunteers introduce families to the ritual of reading aloud. They coach parents so that they can take
over reading to their children and help make books part of everyday family life. Their assistance
encourages children’s language development, enriches the linguistic environment in the home, and
puts people in touch with one another. Piet Hoffman34 has been a volunteer with Reading Express in
Amsterdam for almost a year now.
“According to the guidelines, volunteers are supposed to read aloud to the children for 45 minutes and
then spend 15 minutes talking to the parents. But 30 minutes is already quite a long time to read aloud
(although we alternate reading and playing games, colouring pictures, putting on shows, and just
chatting about things). Children need to learn to concentrate too. We always pick a fixed point in the
week for the reading aloud session so that we can work on building a tradition and on making reading
a ritual.
It’s amazing to be able to help a child’s development just by spending an hour with them each week
and by getting to know them as neighbours. The volunteers develop real relationships with the
families. At first, they’re focused exclusively on the reading sessions. But after a while, the families
start asking the volunteers to stay for dinner or to celebrate the end of Ramadan with them. They’re
very welcoming.
A lot of volunteers stay in touch with the host families even after the twenty weeks are finished. Still,
they try to coach the parents as much as possible during the final few sessions so that they will
continue reading aloud to their children themselves. Many parents have to get over their own fear of
mispronouncing words or not knowing what they mean. So the project also helps the parents improve
their language skills.”
34
Interview with Piet Hoffman, 1 August 2013. VoorleesExpress was initiated by SodaProducties, bureau voor Maatschappelijk Innovatie.
34
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3.2.2.5 Primary school managers
School managers are responsible for ensuring that their schools provide a good quality of
education. They are therefore also responsible for the quality of the cultural education
provided. How do educational boards implement that responsibility? What factors do
they consider in their strategic planning, allocation of resources, and personnel policy?
Recent research in the provinces of North Holland and South Holland shows how the
managers of primary schools shoulder their responsibility in the field of cultural education.35
Most school managers endorse the importance of cultural education, viewing culture as
an integral part of children’s broad development. They also say that cultural education
helps children develop creativity and encourages them to adopt an open attitude to the
world around them. In actual practice, however, only a few policy plans identify specific
aims in the field of cultural education. According to school managers, things that are
difficult to quantify, such as cultural education, do not lend themselves to formulating
objectives. School managers are also largely unaware of the possibilities and national
trends in the field of cultural education. Towards the end of 2013, the Minister and State
Secretary will be concluding agreements on cultural education with the assembled
municipal alderman responsible for education and culture and with the Primary Education
Council [PO-raad] (the association of school managers in primary education). Those
agreements will set out the joint aims for cultural education for the next ten years. The
objective of the agreements is to support the discussion of cultural education at primary
schools at local level, i.e. between the municipal authorities, the school managers, and
the cultural institutions.
3.3 Receptive participation in cultural life
3.3.1 Trends in participation in cultural life
The Netherlands is one of Europe’s leaders as regards participation in cultural life. It is, for
example, in the top three for theatre attendance, reading (books), and visits to museums,
art galleries, and historic buildings.36 However, participation is not stable. Since the 1980s,
visitor numbers have been falling where the more costly and traditional performing arts
are concerned, for example opera. The number of people borrowing books from libraries
is also falling, but in the case of popular art forms such as popular music and film, interest
is in fact increasing.
• From “AVO” to “VTO”
In order to keep track of these trends, the Ministry for many years utilised the figures
generated by the Netherlands Institute for Social Research (SCP) on the basis of its
Amenities and Services Utilisation Survey (AVO). The AVO was a large-scale survey, carried
out every four years, of the utilisation of government-provided facilities. The size and
cost of the survey meant that the SCP was unable to continue it, ending an uninterrupted,
decades-long series of surveys concerning participation in cultural life in the Netherlands.
35
36
Admiraal, K. et al., Cultuureducatie op niveau (2012); Ligtvoet-Janssen, M.G.A. et al., Kansen voor cultuureducatie (2012).
Eurostat, Eurobarometer 278 (2007), p. 16.
35
\
3 \ Cultural education and participation in cultural life
\>
The Leisure Activities Survey (VTO) provides a new basis for our knowledge of such
participation in the country. The first survey took place in late 2012/early 2013, with the
first reports appearing later in 2013. The VTO will take place once every two years,
therefore providing more up-to-date information.
Data from the VTO does provide up-to-date information but not yet any information as
regards trends. A solution to this can be found in a different SCP survey associated with
the SCP Life Situation Index (SLI). That survey includes a limited number of questions
about participation in cultural life, with a series being available from 2004 to 2005 (see
Table 3.2). The SCP itself will report on this subject for the first time in December in The
Social State of the Netherlands 2013.37
tion of the Netherlands went to the cinema at least once a year; this represents an
increase compared to 2004. A quarter of the population attended a popular music,
cabaret, musical, or theatre performance. About half the Dutch population visited a
museum at least once a year. With the exception of film, participation declined in all
disciplines between 2010 and 2012. This difference between the two years cannot be
called a trend; it may be due to the economic crisis. The exceptional position of film was
noted previously, including in an international context. In times of crisis, falling attendance affects film less than other genres.39
Table 3.2 Cultural participation by Dutch population (18 and over), 2004–2012
(percentage who, once or more in the past twelve months, have attended...)
• Differences between generations
The kinds of cultural expression that people patronise are largely determined by their age.
In the case of popular culture – for example popular music and film – young people are
strongly overrepresented. Attendance at traditional cultural events is reasonably well
distributed across different age groups, but the public for such events is in fact ageing.
---------------------------------------------------------------------------------------------------------------------------------------------------------------------
2004
2006
2008
2010
2012
The differing generations have been socialised differently in cultural terms. People retain
the cultural preferences of their youth for the rest of their lives, and only some of those
preferences change as they pass through the various life phases. The younger the
generation, the greater the interest in popular culture (popular music, cabaret, film). If this
trend continues, it will mean that popular culture will have increasingly wide audience.
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Opera
66 5 6 4
.................................................................................................................................................
Classical music1919 17 20 18
.................................................................................................................................................
Ballet
8777 6
.................................................................................................................................................
Theatre
25282829 27
.................................................................................................................................................
Museum
4449 47 50 48
.................................................................................................................................................
Musical
25272626 24
.................................................................................................................................................
Cabaret
22242525 22
.................................................................................................................................................
Film
5556 54 61 61
.................................................................................................................................................
Popular music2527 31 29 27
.................................................................................................................................................
• Traditional culture
Compared with attendance at popular culture performances, attendance at traditional
cultural events – theatre, classical music, ballet, museums, and historic buildings –
depends much less on the generation or phase of life. There are certain differences
between the generations, but these are not as marked as in the case of popular culture.
There are significant differences within the traditional disciplines, but these dwindle to
insignificance in survey results when taken the genres are taken as a group. The preference for classical music has declined with successive generations. In the youngest
generations, the percentage of those attending classical music concerts is approximately
half that among retired people (born between 1935 and 1944). This decline has in fact
been brought to a standstill but it has not yet been reversed.40
The different questions, age selection, and structure of the SLI mean that these figures for
participation differ from those based on the AVO and therefore from the Kunstminnend
Nederland? study [The Art-loving Netherlands?] discussed below.38
• Declining participation
Table 3.2 shows the figures for participation in cultural life between 2004 and 2012, based
on population surveys. Section 5 discusses trends in the number of visitors to subsidised
cultural institutions. The surveys show that in 2012 more than 60% of the adult populaThe SCP will also use the figures in the Cultuur Index Nederland, which it is developing together with the Boekman
Foundation. A special edition of the periodical Boekman on this topic will appear in December 2013.
38
This is disappointing and sometimes troublesome in the context of policy; it is, however, unavoidable with research of this
kind. There is still no generally accepted international standard for research on participation in cultural life.
37
36
/
For many cultural institutions, the ageing of the population provides an opportunity to
attract more people in the older age groups, something that the SCP refers to as “cashing
in on ageing”41 In 2013, a large number of parties signed an agreement on elderly people
and culture, with the aim of encouraging participation in cultural life by members of this
group.42
In southern European countries such as Spain and Greece, there has in fact been a marked decline in the number of people
going to the cinema (Focus 2013, World film market trends. European Audiovisual Observatory, p. 7 and p. 17.) It is not only
the impact of the crisis that plays a role; the increasing availability (paid and unpaid) of films on television and the Internet is
also a factor.
40
Broek, A. van den, et al., Wisseling van de wacht: generaties in Nederland (2010), p. 359
41
Broek, A. van den, et al. Cultuurbewonderaars en cultuurbeoefenaars (2009), p. 121.
42
Ministerie van Onderwijs, Cultuur en Wetenschappen et al. http://www.rijksoverheid.nl/documenten-en-publicaties/
convenanten/2013/06/18/convenantouderen- en-cultuur.html (accessed 8 August 2013).
39
37
\
3 \ Cultural education and participation in cultural life
3.3.2 Potential reach and experience of the arts
The recent SCP study Kunstminnend Nederland? deals with the reach of the arts on the basis
of data for 2009.43 “Reach” is a broad term in this context: it ranges from being interested
in culture, reading about it, watching cultural programmes on TV or talking about it with
friends, to actually attending a cultural event. For each art form, more than 50% of the
population say that they are interested in the canonical forms (classical music, the visual
arts, theatre, dance), while more than 80% say that they take an interest in the more
popular art forms (cabaret, film, popular music). But not everyone who is interested
actually attends a cultural event. The gap between “being interested” and “actually
attending an event” can be interpreted as the potential participation within the population.
The percentage of people interested in culture who convert that interest into actual
attendance is referred to as the “degree of conversion” (see Figure 3.1). Conversion differs
according to genre, but for most art forms the potential participation is considerably larger
than the actual attendance figure. On average, the conversion from interest to attendance is
one third of those who are interested; this applies to both canonical and popular art forms.
Here is where arts institutions have the potential to attract a larger audience.
In current discussions of the arts and the extent to which they reach the public, much is
being said about how the arts enrich people’s experience of life. A whole range is
mentioned: enjoyment or relaxation, unwinding, encountering new ideas, feeling moved,
being consoled, feeling a sense of solidarity with others or, conversely, celebrating one’s
individual identity. The world of marketing goes to great lengths to research customers’
experience. In the arts and culture, however, that kind of research is still rare, even though
knowing what an audience experiences during a performance or an exhibition may
enable performers and artists to key into that experience more effectively.
Figure 3.1 Interest, reach, and conversion for various art forms
Population aged 16 and over, 2009 (as percentages)44
100
90
80
70
The Kunstminnend Nederland? study attempted to investigate how the Dutch population
experience the arts. People were asked to indicate the extent to which they agreed with
the following statements, which describe how they may have felt during their last visit (to
a museum, the theatre, etc.):
• it was relaxing;
• it got me thinking;
• it made me laugh, it made me happy, it cheered me up;
• it was comforting, consoling;
• it gave me a shot of energy, pepped me up, charged me up;
• it was moving, emotional;
• it made me a sense of belonging.
60
50
40
30
20
10
0
classical
music
interest
visual arts
theatre
reach
dance
musical
cabaret
film
popular
music
The results are summarised in Figure 3.2 according to canonical and popular art forms.45
conversion
45
43
44
Broek, A. van den, Kunstminnend Nederland? (2013). This does not deal with heritage.
SCP version based on Broek, A. van den, Kunstminnend Nederland?, (2013).
38
/
It is striking that no category is included that attempts to describe the experience of beauty or aesthetic pleasure.
39
\
3 \ Cultural education and participation in cultural life
3.3.3 Participation in cultural life via audiovisual media and the Internet
The media (press, radio, and TV, the Internet, and social media) play a very big role in our
lives. We devote a lot of time to the media and they are a huge influence on our feelings,
opinions, and actions. Television still plays the biggest role. On average, people born after
1960 spend more time watching television than working over the course of their life.47
Figure 3.2 Experience when attending or visiting canonical and popular art forms,
according to kind of experience
Population aged 16 and over, 200946
Percentage who “agree entirely” or “agree” with the statement presented
100
Surveys by SPOT and the SCP of how people spend their time reveal how we use the
media.48 SPOT49 measures use of the media over the whole day. The total amount of time
people spend using the media is almost 7 hours; about a quarter of this use is simultaneously with other activities. Television is still the dominant medium, accounting for 46% of
people’s time, followed by the Internet (30%).50 Time spent using the media peaks in the
evening hours, at about 9 p.m., some 60% of the Dutch population are engaged in some
kind of media consumption. The SCP categorises media use as a leisure activity, and it has
also found that the media take up a large proportion of people’s time. Media use
dominates our spare time by a wide margin.51 In the Netherlands in 2006, the media took
up an average of 2 hours and 51 minutes a day, as opposed, for example, to 1 hour and 22
minutes for social contacts, informal help, voluntary work and social participation, 51
minutes for culture, sport, recreation, hobbies, and finally 20 minutes for resting. If we
break down the various forms of relaxation further, we see that watching television is by
far the dominant activity. Only a very modest amount of time is spent on “culture and
entertainment”.
90
80
70
60
50
40
30
20
10
0
relaxing
got me
thinking
laughter, happy,
cheerful
comforting
shot of
energy
moving,
emotional
sense of
belonging
canonical art forms: classical music, visual arts, theatre, dance
popular art forms: popular music, film, cabaret (musical excluded)
By far the largest proportion of visitors (90%) experienced the previous event that they
had attended as being “relaxing”, followed by “it made me laugh, it made me happy, it
cheered me up”. On average, the canonical art forms make people happy to a somewhat
lesser extent (60%) than the popular art forms (almost 90%). Experiencing “a shot of
energy” is next (50–60%), followed by the more serious kinds of experience such as “it
was moving” and “it got me thinking”. The canonical art forms score somewhat higher for
all of these. Some 20% mentioned feeling comforted. The social dimension (“sense of
belonging”) scores lowest but is still mentioned by almost 25% for the canonical art forms
and by more than 15% for the more popular art forms.
Elchardus, M., Self control as social control. The emergence of symbolic society. In: Poetics 37 (2009) p. 154.
There are currently a number of different parties that carry out research on use of the media, for example the Netherlands
Institute for Social Research (SCP), the Foundation for the Promotion and Optimisation of Television Advertising (SPOT) and
the Audience Research Foundation (SKO) [Stichting Kijkonderzoek]. Their studies provide different measurements of media
use and the time spent using media, generated according to different research methods. A large number of the relevant
parties have now joined forces. A joint survey of the time people spend using media is being prepared and its initial results
will be published in 2014. The survey will take account, for example, of the simultaneous use of several different media, a
habit that has increased greatly with the advent of the Internet.
49
SPOT, Alles over tijd (2012), p. 13 http://www.spot.nl/onderzoek/tijdbestedingsonderzoek (accessed on 8 August 2013).
50
In this survey, viewing television programmes on the Internet was categorised under watching television.
51
Cloïn, M. et al., Nederland in een dag. Tijdbesteding in Nederland vergeleken met die in 15 andere Europese landen, The
Hague, SCP (2011), p. 39. The statistics concern the year 2006.
47
48
46
SCP version based on Broek, A. van den, Kunstminnend Nederland? (2013).
40
/
41
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3 \ Cultural education and participation in cultural life
Figure 3.3 Time spent on various forms of relaxation in the Netherlands and fifteen
European countries
Population aged 20–74 (hours: minutes a day)52
Western Europe
5:00
Northern Europe
Figure 3.4 Listening to/viewing recordings or objects by means of printed, audiovisual,
digital, and/or online media
(as percentage of population aged 18 or over, 2009)54
Southern
Europe
Eastern Europe
90%
80%
4:30
70%
4:00
60%
3:30
50%
3:00
40%
2:30
30%
20%
2:00
10%
1:30
0%
1:00
Theatre
0:30
Cultural heritage
Audiovisual media
Visual arts
Digital media
Classical music
Online media
Popular music
Film
Printed media
Notes:
• “Printed media” refers to books and periodicals.
• “Audiovisual media” comprises television, radio, DVD, video, CD, LP, and minidisc.
• “Digital media” (excluding online media) means the offline use of computers or mobile devices.
• “Online media” refers to cultural websites, other websites, and Internet radio. Average
Italy
Spain
Lithuania
Latvia
Estonia
Bulgaria
Poland
Slovenia
Finland
Sweden
Norway
France
United
Kingdom
Germany
Belgium
Netherlands
0:00
TV, DVD, video
radio and music
hobbies and games
culture and entertainment
reading
computer and games
sport and exercise
resting
This 2009 study shows that people consume the arts not only in such places as concert
halls, art galleries, or museums but also via the media. These figures do not yet reflect the
subsequent rise in mobile Internet and tablet use. It is highly likely that consumption via
the Internet (including on mobile devices) will continue to increase in the years ahead.
What is the situation regarding participation in culture via the media? Needless to say,
this cannot be directly equated with the experience of going to a concert or viewing a
painting. Sometimes, however, the difference is less marked, for example in the case of a
film. In the Kunstminnend Nederland? study, people were asked how often they viewed art
on a screen. A quarter of the population view canonical art an average of at least once
every few weeks; in the case of the popular arts, the figure is two thirds. These percentages are without exception much higher than the proportion of the population who seek
out the arts in a concert hall, art gallery, museum, etc. Another question concerned other
types of consumption of the arts, for example listening to music or cabaret at home or
while travelling, looking at works of art in public areas, or reading literature.53
The study did not cover the Internet as a medium because it had already been the focus
of a previous study by the SCP (De Virtuele Kunstkar, Cultuurdeelname via oude en
nieuwe Media). Figure 3.4 presents an overview of Internet use for cultural purposes.
52
53
Cloin (2011), p. 86, Fig. 5.1. SCP (TPO ‘06/EU); other countries HETUS.
Broek, A. van den (2013) p. 28–20.
42
/
54
Broek, A. van den (2013) p. 28–20.
43
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3 \ Cultural education and participation in cultural life
3.3.4 Culture on television (public broadcasting)
The study referred to above gives an indication of total participation in culture via the
media. One of the major players in this media landscape is the Netherlands Public
Broadcasting (NPO), whose task is to programme broadcasts featuring the arts and
culture.55 The Performance Agreement [Prestatieovereenkomst] for the NPO for 2010–
2015 provides for this as follows. The NPO “also wishes to maintain the scale, breadth,
and variety in the domain of the expressive arts in the next five years”. For television, this
means “an annual variety of expressive arts programmes (informative programmes about
the arts, including art documentaries), music (including classical music and broadcasts of
festivals, concerts, and theatre), fiction, and cabaret/satire”. In the case of radio, this will
involve recording and reporting concerts and music events.56
The Audience Research Foundation (SKO) tracks the ratings for individual programmes
broadcast by both public and commercial organisations and provides daily reports.57
Public broadcasting programmes are also categorised, including in the NPO’s annual
report on its activities. This enables the NPO to report on the number of people who watch
programmes about the arts and culture. As an illustration, we will look at television
programmes featuring classical and popular music and informative programmes about art.
Table 3.4 Viewer figures for some categories of NPO arts programmes58
Dutch population aged 6 and over, 2012
Viewer
Average
Number of Points of
numbers frequencybroadcasts contact
(x 1000)
(x 1000)
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Classical music8.366
2,9
117 24.031
----------------------------------------------------------------------------------------------------------------------------------------------------------------------
• Viewer numbers for programmes
Viewer numbers here means the number of people (aged six or older) who watch a
programme for at least five consecutive minutes.59 In 2012, 8.3 million individual persons
viewed a classical music programme on public broadcasting. On average, they watched a
classical music programme (or part of a programme) 2.9 times per year. Viewer numbers
can vary widely, from a few thousand to millions (for example André Rieu) per broadcast.
Popular music attracts more viewers (the figures are slightly less than double) but there
are ten times as many broadcasts. Some 14 million people watch informative programmes about the arts (Het uur van de Wolf, Opium, Museumgasten, Tussen Kunst en Kitsch,
Dode Dichters Almanak). Virtually everyone aged six or over sometimes watches at least five
minutes of such programmes. A programme such as Tussen Kunst en Kitsch (the Dutch
version of the BBC’s popular Antiques Roadshow) regularly has an audience of more than 2
million viewers, while the cultural documentary programme Het uur van de Wolf [Hour of the
Wolf] has 200,000 viewers, with peaks of up to almost a million. Besides the NPO’s
“normal” television channels, there is also Cultura24, which people can also watch on the
Internet.60 Cultura24 specialises in cultural programmes. In 2012, regular audience
measurement indicated a viewership of just under 3 million, with an upward trend in the
fourth quarter of the year thanks to broadcasts of the Top 2000 songs (an audience of
almost 2 million). Cultura24 also reached viewers via the Internet. In 2012, just under
30,000 people a month watched via the Internet, with a spike of 240,000 in May because
the Pinkpop music festival was broadcast.
Audience measurements naturally depend on the measuring method. The SKO uses a
period of five consecutive minutes, which excludes accidental uninterested zappers. A far
smaller percentage of viewers actually watch a whole programme, but even if we increase
the applicable timespan, we are still dealing with many millions of viewers.
.................................................................................................................................................
Popular music 13.988
11,5
1.225160.267
.................................................................................................................................................
Informative
programmes
about the arts
14.252
21,2
1.860
302.779
.................................................................................................................................................
Notes:
• Viewer numbers: the number of individual persons aged six or older who watched for at least five consecutive
minutes.
• Average frequency: the average number of times that a programme in the category was watched.
• Points of contact: viewer numbers × average frequency. Comparable with the number of visits that an individual
visitor can pay to a concert hall, art gallery, museum etc.
Media Act [Mediawet], Section 2.1.
Prestatieovereenkomst NPO, Ministry of Education, Culture and Science and Dutch Media Authority [Commissariaat voor de
Media, CvdM], 17 May 2010.
57
http://www.kijkonderzoek.nl/ (accessed 15 June 2013).
58
The NPO’s annual Review [Terugblik] – which accounts for the extent to which the organisation has implemented the
arrangements set out in its Performance Agreement – provides details of the programmes to be broadcast. Less detailed
arrangements have been made regarding viewer numbers. At the request of the Ministry of Education, Culture and Science,
the viewer numbers were provided by the Audience Research Foundation/NPO.
55
• Total consumption of cultural programmes and events not yet clear
The NPO is a major provider, but Dutch media users have many other options for
accessing arts and culture programmes, for example the many foreign broadcasting
stations that are available, such as the specialised Arte. There has never been a greater
number of such programmes available via the media (television, radio, the Internet) and
the markets are highly volatile. However, the population and public surveys and the
audience measurements currently carried out by various parties have not yet been able to
produce a coherent overview of all the cultural programmes and events on offer and the
extent to which people consume them, whether via the media or “live”. This remains a
significant challenge.
56
44
/
For ratings, the KLO (Viewers and Listeners Research Organisation) applies the criterion of “watched for at least 5
consecutive minutes”. The standard lower limit for a “view” in the Netherlands is one minute. The SKO assumes that
someone who has watched for at least five consecutive minutes more or less consciously wished to watch at least part of
the programme.
60
Since the summer of 2013, all the NPO’s television channels can be watched at NPO.nl.
59
45
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3 \ Cultural education and participation in cultural life
3.3.5 Internet and social media
Cultural institutions that wish to reach the public via the Internet need to make their
events and activities accessible in an attractive manner. More and more Dutch museums
are active digitally. Their websites provide information not only about the museums
themselves but increasingly about their collections. Digitising heritage makes it more
accessible for the general public. The Digital Museum Collection of the Netherlands
(DiMCoN) – set up by the government service for Cultural Heritage (RCE) – is an example.
This digital collection now comprises more than 2.7 million items held by 43 museums,
including Amsterdam’s Rijksmuseum.61 There are also concerns about the unintended
side effects of making collections available digitally. For example, publicising the location
of certain religious heritage items or giving precise details of (precious) materials
increases the risk of theft.
Cultural institutions may also find it worthwhile to present themselves via the social
media. Based on recent market research, it is estimated that almost eight out of ten
people in the Netherlands use one or more social media. The largest networks used in the
country are shown in Table 3.4.
Table 3.4 Estimated use of social media in the Netherlands in 201362
Population aged 15 and over, in millions of users
• Museums and the social media
Museums, in particular, keep close track of how active they are in the field of social
media.63 They utilise social media in order to increase their visitors’ engagement with
them. This sometimes involves very large numbers of people, even when compared with
the number of visits to the museum itself. The Van Gogh Museum, for example, has 2.7
million followers on Google+, although the annual number of people actually visiting the
museum is 1.4 million. Art museums are particularly active via the social media, with the
trailblazers being the museums around Amsterdam’s Museumplein Square. Facebook is
primarily a visually oriented network where photos and videos attract a great deal of
attention. Twitter focuses mainly on texts and links, and is much faster than Facebook. It
is normal for a museum to send several tweets each day, whereas the daily average on
Facebook is two posts a day.
In 2012, the museums with the fastest-growing number of Facebook fans were the
Rijksmuseum, Naturalis, and the Museum of Communication. Those with the fastest
growing number of followers on Twitter were the Netherlands Photo Museum, the
Kröller-Müller Museum, and the Stedelijk Museum Amsterdam. Tables 3.5 and 3.6 show
the Dutch museums with the largest number of Facebook fans or Twitter followers.
---------------------------------------------------------------------------------------------------------------------------------------------------------------------
number of users
of whom daily users
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Facebook7,9
5
Table 3.5 Dutch museums with the largest number of Facebook fans (likes)
(reference date: 10 July 2013)
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Museum
Number of fans
Number of fans Facebook
.................................................................................................................................................
top 100 worldwide
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Rijksmuseum150.000
39
Youtube7,1 0,9
.................................................................................................................................................
.................................................................................................................................................
LinkedIn3,9 0,4
43
Van Gogh Museum140.000
.................................................................................................................................................
.................................................................................................................................................
Twitter3,31,6
97
Anne Frank House61.000
.................................................................................................................................................
.................................................................................................................................................
Google+ 20,5
.................................................................................................................................................
Hyves 1,20,3
.................................................................................................................................................
Table 3.6 Dutch museums with the largest number of Twitter followers
(reference date: 10 July 2013)
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Museum
Number of fans
Position in the museum
Using social media can increase public involvement, for example by encouraging debate
and discussion, improving marketing performance, and appealing to specific target
groups.
Twitter top 200
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Van Gogh Museum
65.00051
.................................................................................................................................................
Stedelijk Museum Amsterdam
55.000
66
.................................................................................................................................................
Boijmans van Beuningen
Museum
28.000
115
.................................................................................................................................................
61
62
http://www.dimcon.nl/ (accessed 1 August 2013).
http://www.newcom.nl/socialmedia (accessed 10 July 2013).
46
/
63
http://www.museum-analytics.org/ (accessed 1 August 2013).
47
\
3 \ Cultural education and participation in cultural life
\>
More detailed research is required in order to interpret these figures correctly.
Comparison with other museums can clarify matters, as can comparison with other
(popular) Facebook pages. An extremely popular artiste such as the singer Marco Borsato,
for example, has more than 100,000 fans on Facebook and The Voice of Holland has
approximately double that number. By comparison, the Ajax football club has more than
700,000 fans.64 The Internet has clearly created a new playing field, one where museums
and other cultural institutions must be visible if they are to compete with one another
and with other leisure activities.
12 to 19-year-olds at 57%. The MAK gives a similar picture. One clear trend is the growing
involvement of older people in the amateur arts, in particular those age 65 and over
(1995–2007). The MAK shows that 37.5% of the over-65 population were engaged in the
arts in their spare time.
Table 3.7 Involvement in amateur arts, by discipline68
Dutch population aged 6 and over (as percentage of population)
---------------------------------------------------------------------------------------------------------------------------------------------------------------------
2009
2010
2011
2012 2013
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Total
52% 52%48% 48%41%
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Discipline
3.3.6 Reading e-books
The world of books is also subject to drastic change due to digitisation and the options
offered by the Internet. One such change is the rise of the e book. The proportion of
e-books in the total Dutch books market is still modest, certainly when compared to the
American market, but it is clearly growing. Of the Dutch population aged over 13,31% said
in January 2013 that they sometimes read an e-book; that represents an increase of 21%
compared to the previous year. Only 2% of Dutch people read only e books, with most
reading them in addition to printed books. But the majority of Dutch people (57%) still
read solely printed books (69% in 2012). For a long time, the e-reader was the most
frequently used device for reading e books. That changed in January 2012, when the tablet
moved into pole position. The laptop, desktop computer, and smartphone trail by a
considerable distance.65 Suppliers of e-books are worried that illegal downloads will make
it unprofitable to sell e-books. That worry is one of the reasons why the e-book still
accounts for only a modest share of the market. Experience in the music industry shows
that consumers are more inclined to purchase items if they have enough choice and
access is easy. This suggests that with the right business model, it may be possible to
transfer some of the present illegal downloads to the legal, paid-for channel.66
• Visual arts
• Music
Facebook (accessed 8 August 2013).
http://www.leesmonitor.nu/page/10006/Digitalisering (based on Stichting Marktonderzoek Boekenvak/Intomart GfK, 2013)
(accessed 29 August 2013).
66
Poort, J. & Leenheer, J., Filesharing 2012 Downloaden in Nederland. Amsterdam/Tilburg: IVIR / Centerdata (2012)
67
Broek, A. van den, FAQ’s over kunstbeoefening in de vrije tijd (2010), p. 25.
64
21%
/
21%
20%
21% 21% 16% 20%18%
• Dance
12%15%11%10%9%
.................................................................................................................................................
• Theatre
6% 5% 5% 5%4%
.................................................................................................................................................
• (Creative) writing
12%
11%
13%
13%
6%
.................................................................................................................................................
• Photography/film/video/new media
14%
16%
15%
15%
12%
.................................................................................................................................................
Table 3.7 shows the distribution across the various disciplines; a decline is apparent in all
of them. In some disciplines, the decline may reflect a change in the survey questions to
some extent. Since 2013, for example, respondents have been asked about “creative
writing” rather than “writing”. In 2013, the questions stressed that the survey concerned
the artistic use of photography/film/video/new media. We may assume that the shift in
emphasis is partly responsible for the smaller percentage of people involved in these two
disciplines.
• Reasons for involvement in amateur arts
Why are people involved in the amateur arts in their spare time? The most important
reasons given are enjoyment and relaxation (80–90%). (In the case of children, that
percentage is noticeably lower. This may be because children receive far more lessons and
more is required of them.) These general reasons are followed by more specific ones: “to
learn something, get better at something” and creativity (“to make/do something
yourself”). More than 60% consider this to be important. For many people, involvement
in the amateur arts also has a social function (“fun to do something together with other
people” and “to meet people”). “To meet people” becomes somewhat more important
the older the respondent is. Adults are much less inclined than children to exhibit the
results of their efforts (Table 3.8).
65
48
21%
.................................................................................................................................................
3.4 Amateur Arts
Many Dutch people are actively involved in the arts in their spare time. According to the
SCP – basing this on the 2007 AVO survey – involvement in the amateur arts has increased
somewhat since 1995, to about 45% of the population. In a supplementary survey, the
SCP gives a figure of 48%. 67 The Amateur Arts Monitor (MAK) for 2013 (see Table 3.7)
arrives at percentages for people aged six and over of between 52% (in 2009 and 2010),
48% (in 2011 and 2012), and 41% in 2013 (Table 3.7). The downward trend would suggest
that fewer people are involved in the amateur arts. To what extent is unclear, however,
because in 2013 the MAK was carried out in a somewhat amended form.
Women are clearly more active in the amateur arts than men, with 47% of women
involved as opposed to 35% of men. Young people are the most active group: in 2007, the
SCP found that 64% of those aged 6 to 11 were involved in the amateur arts, followed by
21%
.................................................................................................................................................
68
LKCA, Monitor Amateurkunst 2013: beoefenaars en voorzieningen (2013, forthcoming).
49
\
3 \ Cultural education and participation in cultural life
Table 3.8 Reasons for involvement in amateur arts
Percentage of respondents who say they consider the reason listed to be important69
---------------------------------------------------------------------------------------------------------------------------------------------------------------------n=1701
6 - 19 y.
20-64 y.
65+
Total
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Make or do something yourself 58 64 6863
.................................................................................................................................................
Learn something, get better at
something
66 64 6063
.................................................................................................................................................
Let other people (an audience)
see/hear/read what I can do
29 18 2021
• Availability of facilities
Public authorities, usually municipalities, fund part of the infrastructure for the amateur
arts. The economic situation means that many authorities are economising on the
facilities provided (see Section 5.1). The Amateur Arts Monitor for 2013 therefore included
questions about the availability and accessibility of facilities used by amateurs. Of the
respondents, 8% said that there were not enough facilities available or that they were
insufficient. The majority of people involved in the amateur arts were satisfied with the
accessibility of the facilities provided. Some facilities have disappeared, however, with 3%
of respondents saying that facilities that they themselves used were no longer available
to them in 2011.
.................................................................................................................................................
It relaxes me
62 85 8079
.................................................................................................................................................
It’s enjoyable
88
91 8789
.................................................................................................................................................
Meet people with the same
interest 36
48 5346
.................................................................................................................................................
Nice to be appreciated for what I
make or do
59
41 3544
.................................................................................................................................................
Fun to do something together with
other people
65
58 5759
.................................................................................................................................................
People involved in the amateur arts often make use of services provided by private
individuals or institutions, for example to rehearse, take lessons, organise performances,
or put on exhibitions. Research shows that performances can be quite well attended, with
the estimated audiences for 2011 being about 20 million.70
An average of 31% of those involved take lessons in their chosen art form; the figure for
children is significantly higher than that for adults (59%). Given the increased use of the
Internet, it is interesting to examine its role in amateurs’ learning requirement. That role
is in fact significant, with 33% of amateurs learning from examples or instructional videos
on the Internet and 18% taking lessons, courses, or workshops on the Internet. The most
active group here are those aged 20 to 64, for whom the percentages are 39% and 21%
respectively.
LKCA, Monitor Amateurkunst 2013: beoefenaars en voorzieningen (2013, forthcoming). Version by Ministry of Education,
Culture and Science. Of the three original response categories “not important”, “a bit important” and “important”, only the
final category has been included here.
70
Noordman, T.B.J. et al., Amateurkunst en publiek (2011). See also Cultuur in Beeld 2012, pp. 103–104.
69
50
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51
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3 \ Cultural education and participation in cultural life
3.5 Voluntary work
For some subsectors – for example the performing arts, heritage, libraries, and the
amateur arts – the numbers of volunteers are in fact known. In 2011, for example, public
libraries utilised the services of almost 7000 volunteers, in addition to just under 9000
paid employees.74 A large number of volunteers are involved in amateur arts organisations. A survey in 2009 estimated that one in eight amateur artists carry out voluntary
work for their organisation, i.e. a total of one million people. 75 This kind of voluntary
work is somewhat different to that which people do for many other civil-society organisations, because it very often means supporting one’s own hobby.
Voluntary work is important in the cultural sector. Many hundreds of thousands of
volunteers are active in the sector, but there are no clear figures offering an overall
picture. The study Geven in Nederland [Giving in the Netherlands]71 estimates that each year
38% of the Dutch population are involved in a civil-society organisation as unpaid
volunteers. The SCP 72 arrives at a somewhat higher percentage of 47%. Geven in
Nederland notes that the number of volunteers is in fact falling somewhat (Table 3.8); for
the moment, the SCP does not assume that there is a downward trend.
The performing arts sector has many volunteers. Of all those working for the member
organisations of the Netherlands Association of Theatres and Concert Halls (VSCD) in
2011, some 35% (3610 people) were doing so as volunteers. That is 4% of the total number
of FTEs.76 A relatively large number of volunteers can also be found working at popular
music venues.77 Some 500 smaller music venues and festivals are run largely by volunteers. In 2011, 88% of the staff of these venues were volunteers (3237 people; in terms of
FTEs, 68%); in the case of festivals, the proportion was 84% (4672 people; in terms of
FTEs, 60%).78
According to Geven in Nederland, in 2013, 3% of the population were involved as volunteers
in a civil-society organisation in the “arts/culture” category and another 5% in the
“recreation/hobby” category. “Recreation/hobby” probably also includes cultural
organisations, although one can only guess at how many. Based on people aged 15 and
over, one arrives at a minimum of 400,000 volunteers.
Table 3.9 Voluntary work for civil-society organisations during the previous 12 months a 73
Number of
volunteers
aged 15
20022004200620082010 2010b2012c
and over
---------------------------------------------------------------------------------------------------------------------------------------------------------------------
(millions)
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Total
46%43%42%45%43% 41% 38%
5,244
----------------------------------------------------------------------------------------------------------------------------------------------------------------------
.................................................................................................................................................
Arts/culture
3%2% 2% 3%5% 4%
3%
• Volunteers in the heritage sector
Museums are also staffed by a large proportion of volunteers. In 2011, Statistics Netherlands
found that there were 28,364 volunteers (4879 FTEs) as against 10,549 (6631 FTEs) paid
employees. The number of volunteers working at museums increased by 59% between
2001 and 2011.79 It is conceivable that the number of volunteers would in fact be higher if
we defined the museum sector more broadly. Other research also indicates that the
number of volunteers would be even higher,80 above all at small museums.
0,414
In 2003, the SCP reported that 1.5% of people aged 16 and over (160,000 people) did
voluntary work for museums, exhibitions, heritage conservation, archaeology, or
archives.81 The majority of these were people with an advanced level of education and
elderly people. Between 1995 and 2003, the proportion of people with an advanced level
of education fell and that of elderly people increased. Although the group of people
actively involved has therefore grown, the ranks of members and volunteers are in fact
ageing. In the short term, that will not create many problems given that the baby-boomer
generation is quite large and also more highly educated, on average, than previous
generations. In the longer term, however, further ageing without any input from younger
generations can lead to a loss of members and dwindling efforts on the part of volunteers.
.................................................................................................................................................
Recreation/hobbyd
8%7%7%7% 6%
5%
0,69
.................................................................................................................................................
Notes:
a
May 2011– May 2012.
b
generalisation excluding non-Western minorities, according to same method as 2002–2008.
c
generalisation including non-Western minorities.
d
not included as separate category in 2002.
Figures from Netherlands Institute for Public Libraries (SIOB), 21 August 2013.
Kunstfactor, Onderzoek Vrijwilligers in de amateurkunst (2009).
Podia 2011, cijfers en kengetallen (2012).
77
VNPF, Het grote poppodiumonderzoek (2009).
78
MCN, Muziekpodia en -Festivals in Beeld 2011 (2012). A circuit of some 500 smaller venues and festivals, which organised
15,000 performances in 2012 of jazz, (contemporary) classical music, and world music. They attracted audiences totalling 4
million.
79
Statistics Netherlands, Statline Musea; openstelling, type collectie, bezoeken, tarieven, tentoonstellingen (accessed 29 June
2013).
80
Broek, A. van den, Het draagvlak voor cultuur (2011), p. 58.
81
Huysmans, F. & J. de Haan, Het bereik van het verleden (2007), p. 165.
74
75
76
71
72
73
Bekkers, R., Het geven van tijd: vrijwilligerswerk (2013), p. 108.
Bijl et al. (Eds), De Sociale staat van Nederland (2011), p. 196.
Schuyt, T., Gouwenberg B. & Bekkers, R., Geven in Nederland 2013 Giften, Nalatenschappen, Sponsoring en Vrijwilligerswerk
(2013). Number of volunteers aged 15 and over: version by Ministry of Education, Culture and Science based on population
data provided by Statistics Netherlands.
52
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53
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3 \ Cultural education and participation in cultural life
\ >
• “Friends of …” societies, heritage associations
One special kind of voluntary involvement with a cultural institution is membership of its
“Friends of …” society. Many cultural institutions – for example museums, theatres and
concert halls, orchestras, and theatre companies – have a “Friends of …” society. The
same goes for amateur arts associations and amateur dramatic societies. This special kind
of involvement is particularly popular among Dutch museums. Half the members of the
Dutch Museums Association (NMV) have a “Friends of …” society; in the case of the
Netherlands Association of Theatres and Concert Halls (VSCD) the proportion is one third,
and in the case of the Netherlands Association for the Performing Arts (NAPK) it is just
under one third. “Friends of …” societies can support their institution financially as donors
or as fundraisers within business and industry. Many such societies also provide volunteers for support activities.82 In the case of museums, the various “Friends of …” societies
even have their own federation, the Netherlands Federation of Friends of Museums
[Nederlandse Federatie van Vrienden van Musea]. This comprises twelve hundred such
societies, associated not only with museums but also with historical societies, libraries,
and archives.83 For the past few years, the various “Friends” of orchestras have been
meeting annually on an informal basis.
• Members, friends, or donors
We do not know how many people in total are members of a “Friends of ...” society. Some
of them also do voluntary work and are therefore counted in the statistics (which are also
incomplete). Others are donors. For 2003, the SCP counted the members of the various
kinds of heritage organisations. It found that in that year 2.4% of Dutch people aged 16
and over were members of a “Friends of ...” society associated with a museum, 3.5% of a
local and regional historical society, and 7.1% of an organisation for heritage conservation
(for example preservation of historical buildings or archaeology). In 2003, 10.2% of the
population were members of at least one of these three kinds of organisation or
association. This represents a slight increase compared to 1995, when 9.3% of Dutch
people were members, friends, or donors. In total, this comes to 1 million people. A
relatively constant proportion of the population combine various different kinds of
membership (1.8% in 1995 and 2% in 2003).84 No figures are available for membership of
“Friends of ...” societies in the performing arts sector or other sectors.
<\
Huysmans, F. & J. de Haan (2007), p. 165.
www.federatievriendenmusea.nl
84
Huysmans, F. & J. de Haan (2007), p. 170.
82
83
54
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55
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Hoofdstuktitel hier
CULTURE AT A GLANCE
2013
4
The economic value of culture
4.1 Introduction
4.2 Key economic figures
The cultural sector is changing, partly due to the influence of the current economic
climate and trends in private and public spending. This section describes the value of the
cultural sector for the Dutch economy and outlines the trends. Section 4.2 looks at the
direct and indirect contribution that culture makes to the economy, from a national and
international perspective. Section 4.3 deals with the effects of the economic climate on
the sector. Section 4.4 describes the situation as regards employment and the match
between training programmes and the labour market. Finally, Section 4.5 outlines trends
in the philanthropic sector.
4.2.1 Contributions to the economy
The cultural sector is a significant component of the Dutch economy. In 2012, its contribution to the country’s gross domestic product (GDP) amounted to more than 12 billion
euros, i.e. 2.3%. That is a decrease compared to the past fifteen years: until 2009, the
contribution of the sector to GDP fluctuated at about 2.5% (see Figure 4.1). The decrease
was greatest in the creative business services subsector, which includes architecture firms,
advertising agencies, and industrial design firms. This may be due to the economic crisis.
It is striking that the contribution to GDP by the arts and heritage subsector has remained
stable since 2009.
56
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57
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4 \ The economic value of culture
Nevertheless, there are increasing signs that the proximity of culture (for example popular
music venues, museums, and heritage sites) has a positive impact on land and house
prices.89 Although the economic models utilised in this kind of research often provide only
rough indicators, the results are still interesting for policymakers. It is therefore desirable
for the research methods and models to be improved.
Figure 4.1 Contribution of the cultural sector to gross domestic product (2008–2012)85
3,00 %
2,50 %
2,00 %
1,50 %
1,00 %
4.2.2.2 Tourism
Since the 1990s, there has been growing interest in the economic potential of culture in
general and cultural tourism in particular.90 One good indicator is the World Tourism
Barometer produced by the World Tourism Organisation (UNWTO) in January 2013. This
shows that the Netherlands has for years been in the global top twenty of countries with
the greatest number of foreign tourists.91 A recent study by the Netherlands Board of
Tourism & Conventions (NBTC) shows that the number of foreign tourists was 3% higher
in 2012 than in 2011.92
0,50 %
0,00 %
Total cultural sector
2008
Arts and heritage
2009
Media and entertainment
2010
2011
A recent European Commission report looked at the reasons Europeans give for their
holiday destination.93 Culture plays an important role in tourists’ choices. At 22%, it is in
fourth place when choosing the destination for a multiple-day trip. In addition, 35% of
Dutch people give culture as an important reason for deciding where to go on holiday.
They head the statistics in this regard, together with the people of Belgium, Malta and
Austria.94
Creative business services
2012
4.2.2 The broader economic impact of the cultural sector
Besides its direct contribution to the country’s gross domestic product, the cultural sector
also has a broader impact on the Dutch economy. Culture contributes to making the Nether­lands a more attractive tourist destination and business location for both businesses and
their employees. Culture is also valuable in terms of the quality of our living environment.
4.2.2.1 The importance of culture for cities, and regions
It is becoming increasingly important for towns and cities to provide an attractive range
of amenities for consumers and residents. Towns and cities are not predominantly places
where businesses produce products but increasingly places where tourists, visitors, and
residents consume.86 It is growing increasingly important to clarify the effects of culture
on prosperity. Research on this topic can make a useful contribution to discussion of the
role of the arts and culture in Dutch society.87 The results will enable municipalities and
provinces to take decisions on public spending on culture.
Over the past decade, numerous municipalities and provinces have commissioned studies
of the role culture plays in the location decisions of businesses and homeowners.
Research shows that it is only in Amsterdam that the creative industry has a positive
impact on employment; if we exclude Amsterdam, no effects are apparent.88
Figures supplied by Statistics Netherlands, July 2013. For GDP, Statistics Netherlands uses “GDP in basic prices”.
Burger M. & F. Neffke, Economische waarde van kunst en cultuur (EUR), January 2011.
Marlet G. & J. Poort, Atlas voor Gemeente (2011), p. 9.
88
Raes S.E.P & B.P Hofstede, Creativiteit in kaart gebracht (2005), pp. 33–34.
85
86
87
58
/
• Domestic tourism
A study of Domestic Tourism and Cultural Heritage [Binnenlands Toerisme en Cultureel erfgoed]
associates cultural heritage with the destinations chosen by Dutch day trippers within
their own country.95 The researchers used models from the Ongoing Holiday Study [Continue
Vakantie Onderzoek], data on heritage produced by the government service for Cultural
Heritage (RCE), and data collected by Statistics Netherlands on tourist areas in the
Netherlands. The results showed that the presence of heritage sites and museums has a
positive effect on how respondents rate a destination. The researchers speak of an
“ensemble effect”: it is above all visiting heritage sites – for example an ensemble of
historic buildings or museums – that produces a positive evaluation.
A recent study of the impact on tourism of heritage properties in Flanders indicates the
same effect. The presence of heritage is a decisive factor in people’s decision to stay the
night in an art-rich city such as Bruges.96 The study also looked at people’s spending when
• De sociaal-economische impact van het onroerend erfgoed(beleid) in Vlaanderen.
• Lazrak F. & J. Rouwendal. Cultureel erfgoed en waardeontwikkeling van vastgoed (2013).
• Marlet G. & C. van Woerkens, Atlas voor Gemeenten (2011).
• Duijn van M. & J. Rouwendal, Cultureel erfgoed en het vestigingsgedrag van huishoudens (2013).
• Marlet G. & J. Poort (2011) p. 9.
90
Richards, G., Cultural Tourism in the Netherlands (2005).
91
UNWTO, World Tourism Barometer, January 2013.
92
http://www.nbtc.nl/nl/homepage/cijfersentrends/algemene-cijfers-toerisme.htm (21 August 2013). Statistics Netherlands
data analysed by NBTC.
93
TNS Political & Social, Flash Eurobarometer 370, Attitudes of Europeans towards Tourism (2013).
94
The survey defined culture as belief, cultural activities, and the arts.
95
Loon van R., Binnenlands toerisme en cultureel erfgoed (2013).
96
Baerdemaeker M. et al., De sociaal-economische impact van het onroerend erfgoed(beleid) in Vlaanderen (2011), p. 77.
89
59
\
4 \ The economic value of culture
\>
visiting Flemish heritage sites. It is notable that direct spending at heritage sites (admission charges) is minimal. Visits to heritage sites generate primarily indirect spending, with
the heritage site itself acting as the “background” for a city trip.97
• Magnets: the major cities
Cultural locations in the Netherlands – in particular its major cities – are important magnets
for tourists (especially foreign tourists). A report on Tourism and Recreation in Figures 2012
[Toerisme en Recreatie in cijfers 2012] shows that the majority of foreign tourists stay in one of
the four major cities (i.e. the “G4”: Amsterdam, The Hague, Rotterdam, and Utrecht). In
2010, some 11 million tourists visited the Netherlands, of whom some 5 million stayed in
one of the four major cities.98 In the same year, museums and attractions in Amsterdam
recorded an increase in visitor numbers compared to 2009.99 The number of visitors to
events in Rotterdam and The Hague also increased in 2009–2010.100 The NBTC expects that
Amsterdam will be a major attraction for tourists in 2013 because of its reopened museums.
The trend in the first half of the year seems in fact to indicate that that is the case.
. . . . . . . . . . . . . . .
The European Cities and Capitals of Culture report looked at the similarities and differences
between the 21 cities that had been European City of Culture (ECOC) between 1995 and
2004.105 It proved difficult to compare the results of the events in the various cities
because each event took place in a different cultural and historical context. The organisation also differed from one city to another, as did the objectives.106 It was noted in this
connection that the cities concerned often fail to achieve the objectives that they
formulate. Nevertheless, the authors of the study consider that the ECOC programme can
be a powerful tool for developing cultural programmes and for urban renewal. That is
particularly so if the cities concerned integrate their ECOC initiatives with long-term urban
development.107
........................................................................................................
Influence of the reopened museums in Amsterdam
Just four months after it reopened, the Rijksmuseum had already welcomed more than a
million visitors (information from the museum’s website). It had previously announced
that about half of its visitors were from within the Netherlands.101 A spokesperson for the
airline KLM linked the increase in passenger numbers during the same period with the
reopening of the Rijksmuseum, the Van Gogh Museum, and the Stedelijk Museum in
Amsterdam. According to a spokesperson for Amsterdam Airport Schiphol, when KLM
carries more passengers, the airport also benefits.102
/>
. . . . . . . . . . . . . . .
Advocates of the European Capital of Culture system say that it reinforces the winning
city’s image and attracts tourists and businesses. When Rotterdam was the Capital of
Culture in 2001, the number of visits to the city rose by 17% compared to 2000. Visits to
museums increased by 25% and Rotterdam attracted greater international interest,
including in the press. Sceptics argue, however, that it is difficult to identify the long-term
effects on the city’s image.104
........................................................................................................
4.2.2.3 European Capital of Culture and city marketing
Leeuwarden has been awarded the “European Capital of Culture” title for 2018. The
intention is to develop the Frisian concept of mienskip, i.e. community spirit. Leeuwarden
has set itself the goal of becoming an exemplary region when it comes to connecting the
local, national, and European communities. It will pursue that primary aim by breathing
new life into citizen participation. Bottom-up solutions and events will also be developed,
dealing with the themes of nature and culture, diversity and community, and the
relationship between the city and the countryside.103
Idem, p. 87.
SCP, Toerisme en Recreatie in cijfers 2012, p. 89
99
O+S, Research and Statistics, City of Amsterdam [Dienst Onderzoek en Statistiek], Toerisme in Amsterdam en Regio
2010/2011, p. 7.
100
City of Rotterdam, Historische Analyse Toeristische Barometer 2006–2011. Den Haag Marketing, Jaarverslag 2012 Den Haag
Marketing, p. 17
101
https://www.rijksmuseum.nl/nl/pers/persberichten/rijksmuseum-ontvangt-miljoenste-bezoeker (accessed 17 September
2013); https://www.rijksmuseum.nl/nl/pers/persberichten/duitse-toeriste-500.000ste-bezoeker-rijksmuseum (accessed 17
September 2013)
102
http://www.at5.nl/artikelen/103075/ook-klm-blij-met-heropening-rijksmuseum (accessed 23 July 2013); http://www.
metronieuws.nl/regionaal/klm-vervoert-meer-toeristen-naar-amsterdam-na-heropening-rijksmuseum/
SrZmen!yhuJJTJhoa8xQ/ (accessed 18 July 2013)
103
Bidboek Leeuwarden, Criss-Crossing Communities Iepen Mienskip, pp. 2-5.
4.2.3 Exports and internationalisation
Globalisation has made international cooperation and exports important components for
the culture sector. In 2012, “DutchCulture” Centre for International Cooperation recorded
that Dutch cultural institutions were involved in 13,586 international cultural activities.
That represents an increase of about one thousand activities compared to 2011. The
distribution of international activities across the various sectors is fairly stable (see Figure
4.2). An increase is visible, however, in the contribution of film, theatre, the visual arts,
and design to the total number of international activities in 2012. In the case of music, the
number of activities decreased somewhat, but music remains by far the largest sector.
Dutch films have a large geographical reach. In particular, the animation films by Bastiaan
Schravendeel and Frodo Kuipers and Taking Chances (the international release of the
children’s film Patatje Oorlog) by Nicole van Kilsdonk were screened regularly at festivals
worldwide during 2012.
97
98
60
/
See, for example, Richards G. & J. Wilson, The Impact of Cultural Events on City Image: Rotterdam, Cultural Capital of Europe
2001 (2004).
105
Palmer, European Cities and Capitals of Culture (2004).
106
Idem, p. 21.
107
Idem, p. 23.
104
61
\
4 \ The economic value of culture
Figure 4.2 Dutch cultural activities abroad, by sector, 2012108
Figure 4.3 Figure 4.3 Number of Dutch cultural activities abroad, by country109
3000
2,5% 1,2% 0,9%
Music
Theatre
16,1%
2500
Design
Dance
2000
Fine arts
1,8%
Multimedia
2,3%
Photography
1,8%
1500
9,8%
1000
43,9%
Architecture
Film
Literature
500
Heritage
Multi-sector
5,2%
4,1%
10,4%
0
• Export countries
The Dutch cultural sector no longer depends solely on the Dutch domestic market for its
revenues. Germany, the United States, and the United Kingdom are the top three foreign
destinations for the cultural sector as a whole (see Figure 4.3). The number of recorded
activities is increasing more rapidly in the United States and United Kingdom than in
Germany. The substantial increase in activities in Turkey is unsurprising; the celebration of
400 years of diplomatic relations in 2012 (NLTR400) had a large, wide-ranging cultural
component. The fact that the Netherlands was a guest country during the Guanajuato
International Film Festival (GIFF) meant that there were also a relatively large number of
activities (153) in Mexico.
Buitengaats, DutchCulture (2013). The activities in the various sectors are extremely varied; this makes comparisons difficult.
Buitengaats (literally “offshore”) is an active database, meaning that trend comparisons must be interpreted with a certain
degree of caution (the data shown is from May 2013).
108
62
/
BEL
GER
FRA
TUR
UK
US
BRA
CHI
IND
RUS
• International collaboration between museums
A survey by the government service for Cultural Heritage (RCE) shows that Dutch
museums are collaborating more closely with their foreign counterparts to loan works for
exhibitions abroad. In the period from 2008 to 2011, Dutch museums collaborated
intensively with Germany, Belgium, and Japan to arrange short-term exhibitions. For
longer loan contracts, the museums worked closely with Germany, the United States, and
Belgium. An exceptional case of interest in Dutch art abroad is the success of the
exhibition of old masters in Tokyo. According to Art Newspaper, that exhibition – of works
by Vermeer, Rembrandt and other artists from the Royal Picture Gallery Mauritshuis (The
Hague) – had the largest number of visitors worldwide in 2012.110 It attracted more than
10,000 visitors a day.
• Visual Arts and Design
In his valedictory lecture,111 Prof. Ton Bevers presented the results of an ongoing study of
the geographical distribution of Dutch visual arts and design in the period from 1980 to
2010. He referred to that period as a third Dutch “Golden Age” owing to the huge number
of international presentations. Bevers investigated more than 41,000 presentations by
2200 Dutch artists and almost 800 designers, comparing the period from 1980 to 1986
Buitengaats, DutchCulture, 2013
http://www.theartnewspaper.com/articles/Attendance-survey–Tour-de-force-show-puts-Tokyo-on-top/29142
111
Nederlandse Kunst In De Wereld 1980–2010. Valedictory lecture Erasmus University Rotterdam, delivered 7 December 2012.
109
110
63
\
4 \ The economic value of culture
\>
with that from 1996 to 2010. During the latter, the number of presentations of Dutch
visual arts abroad increased fivefold, while that of Dutch designers increased eightfold.
There was also a major increase in the number of exhibition venues.
In his conclusion, Prof. Bevers emphasised the role played by Dutch cultural policy in the
international success of the sector. His study showed that up to and including 2010, the
international profile of Dutch art was primarily visible in the public context. Economic
conditions had been a driver in the demand for art, and had encouraged towns and cities
to compete with one another as attractive places to live and work. The internationalisation of the younger generations of artists had also played a role. It is plausible that the
policy pursued was one of the factors but the study did not clarify what the key factor was.
• Exports in the field of popular music
Popular music is one of the most important export products for the Dutch cultural sector.
The value added to the Dutch economy by music exports in 2011 is estimated at more
than 100 million euros, an increase of 23% compared to 2010. More than 68% of that
amount was generated by dance music.112
Some 15.4% of Dutch music exports derive from copyright and “neighbouring rights”
(approx. 15.5 million euros); 8.2% comes from the marketing of Dutch artistes outside the
country (approx. 8.2 million euros); and 6.4% comes from performances by Dutch artistes
abroad (approx. 7.6 million euros). Dutch popular musicians perform particularly in the
United States, followed by Germany and Belgium. The number of performances grew
sharply compared to previous years, with a slight increase in rights and recordings.113
• Exports in the literature sector
The literature sector was also actively engaged in international co-operation and exports
in recent years. The number of books translated from Dutch increased between 2009 to
2012 (Figure 4.4), particularly those translations aimed at new economies such as China,
Turkey, and South America. In the traditional markets, for example Spain and France, the
number of translations decreased somewhat. Even the English-speaking world – which is
traditionally difficult to penetrate – saw a rise in the number of translations of Dutch
works, particularly in the genres of non-fiction and poetry.114
One highlight for Dutch literature in terms of international recognition was the successful
“Open Landscape Open Book” event in China. Under that motto, the Netherlands
featured as a guest of honour at the 2011 Beijing International Book Fair. A total of 22
Dutch authors gave readings and workshops together with Chinese colleagues. The
authors concerned were ones whose recent work had been published in a Chinese
translation. Some 100,000 people are estimated to have visited the Dutch pavilion, which
also focused on architecture, design, history, music, and the visual arts.115
Exportwaarde van de Nederlandse populaire muziek 2011, carried out by Perfect & More bv. for Buma Cultuur.
Idem.
114
Annual Report 2012, Nederlands Letterenfonds, pp. 3–4.
115
Idem.
Figure 4.4 Growth in number of translations 1991 – 2011116
700
600
500
400
300
200
100
0
1991
1993
1995
1997
1999
Number of translations published
112
113
64
/
116
Annual Report 2012, Nederlands Letterenfonds, p. 4.
65
\
2001
2003
2005
2007
2009
2011
Number of translations funded by Dutch Fund for Literature (NLF)
‘The success of The Detour’
Besides the book itself, success comes from having a large national and international
network. The impact of a successful author like Bakker is huge, partly because he won the
IMPAC Dublin Literary Award in 2010 for The Twin and the Independent Foreign Fiction
Prize in 2013 for The Detour. The Twin has now been translated into more than twenty
languages. That’s quite a lot. It’s also been adapted for the stage and turned into a film.
All this generates interest not only in the author’s subsequent works, but also in other
authors that we publish. Literary scouts now ask us whether we’re planning to bring out
any interesting books that they should read, instead of we having to promote our titles
with them.
Cossee is an independent publishing house located in Amsterdam. Its titles include the
novels of Gerbrand Bakker, who – following his first novel The Twin (original title: Boven
is het stil, 2006) – has become the most translated Dutch author at the moment. The
novel has won several prizes and is available in more than twenty countries. Gerbrand
Bakker’s later novels have also been very successful at home and abroad. Publisher Eva
Cossée117 talks about how to achieve international success in publishing.
“When we’re reviewing a new manuscript, the question of whether it might be successful
internationally isn’t at the top of our minds. And in any case it’s impossible to predict
what will and won’t be successful outside the Netherlands. So huge hits like Gerbrand
Bakker’s novels may come as a complete surprise.
Gerbrand Bakker is now famous in Britain, France, Germany, and elsewhere. He gives
readings and is invited to review other authors’ works, as an ambassador for Dutch
literature. He recently did a radio interview about his favourite music. So people are now
interested in more than just his novels.
An international success starts with a good book, and a good book depends on good
editing. Once we’ve accepted a manuscript, we work closely with the author to make it a
success. Gerbrand Bakker had sent the manuscript of his debut novel to a dozen different
publishing houses, but all he got were rejection letters. He’d given up hope when one of
his friends decided to pop it into the letterbox of one last publishing house. That
publishing house was Cossee.
117
The Dutch Foundation for Literature (NLF) also plays an important role in promoting
Dutch literature. It acts as an independent authority that foreign publishers can consult
about books in Dutch and Dutch publishers. It also regularly invites foreign publishers to
the Netherlands to introduce them to Dutch publishing houses, and awards funding in
support of translations of Dutch novels into foreign languages.”
Interview with Eva Cossée, 13 August 2013.
• Growth potential of the creative industry
The creative industry – design, architecture, fashion, and e-culture – has growth potential
on the international market. The year 2009 saw the start of the four-year Dutch Design
Fashion Architecture (DutchDFA) programme. Its aim was to strengthen the international
position of the three foremost Dutch disciplines of design, fashion, and architecture. The
programme was aimed primarily at four “focus countries”, namely China, Germany, India,
and Turkey.
Between 2009 and 2012, 180 major projects were initiated, 113 of them in the final two
years of the programme. The projects – both in the Netherlands and the focus countries
– were supported or made possible in part by DutchDFA. The economic effects are
difficult to quantify but there was an increase in the number of projects in the final two
years. The programme also proved valuable in boosting the sector’s international
image.118 Starting this year, the Ministry of Education, Culture and Science and the
Ministry of Foreign Affairs will launch a programme that puts even more emphasis on
supporting agencies in “matchmaking” in the focus countries. That programme will be
implemented by the Creative Industries Fund NL.
118
Riele, W. te, et al. Eindevaluatie DutchDFA, Programma Dutch Design, Fashion and Architecture, Berenschot (2013).
67
\
4 \ The economic value of culture
\>
Strategically, the programme will capitalise on the foreign demand for support in areas of
design where Dutch firms have a good track record, for example urban planning, housing,
water management, and redevelopment/rezoning.
• Architecture
Architecture firms are also affected by the crisis because of the slump in the building trade
and the austerity measures implemented by housing associations. The order book is an
important indicator in the architecture sector. A survey of the economic situation in early
2013 showed that the order book had declined to 2007 levels.121 Moreover, turnover in the
first quarter of 2012 was more than 20% down on the corresponding quarter in 2011.122 For
2013 as a whole, the decline in turnover has been revised downwards to 5.7%.123
• Cultural sector under pressure
The Ministry of Education, Culture and Science commissioned a study on economic trends
in the cultural sector, focusing on trends in audiences, supply, prices, and funding in the
period from 2005 to 2012.124 The study covered a number of sectors in which national
government plays a role, namely the performing arts, cinemas and art cinemas,125 and
state-funded museums. It did not cover the entire cultural sector, in other words. A lack of
information also means that it is not possible to provide a clear picture of a whole sector
or subsector in some instances.126
There are plans to conduct a survey in the near future so as to clarify the effects of the
Netherlands’ international cultural policy. DutchCulture will be concentrating more on
the qualitative analysis of data on foreign cultural activities (using the “Buitengaats”
database).
4.3 Economic trends and entrepreneurship
The Dutch economy has been in recession since 2008. In the second quarter of 2013, it
contracted for the fourth successive quarter. Consumption by Dutch households has also
fallen for more than two years in a row.119 In this section, we will look specifically at
economic trends within the cultural sector.
The results of the study are summarised below. Section 5 looks in greater detail at trends
in the subsectors in which state-funded institutions operate. Table 4.1 surveys the supply
trend in the performing arts sector between 2005 and 2012. Trends in attendance figures
for the period from 2005 to 2012 are summarised in Table 4.2. Table 4.3 surveys the trend
in ticket prices during the same period. The tables make a rough distinction between the
period prior to the economic recession (2005–2008) and the period from the start of the
recession (2008–2012). In order to say something about trends over time, the results are
presented using indexed figures and annual growth percentages. In all cases, the
percentage increase or decrease is shown in comparison to a base year, usually 2005; this
prevents distortion owing to the difference in subsector size.
4.3.1 The effects of the economic crisis
• Books
The non-subsidised segment of the cultural sector is facing serious difficulties. In 2012,
turnover in the market for “general books” fell by 6.3% compared to 2011. (This includes
the turnover from the sale of 1.2 million e-books; if these are not included, the drop in
turnover was 7.3%.) A total of 44.7 million books (i.e. printed books and e-books) were
sold, meaning that turnover fell by 4.3% compared to 2011. The market share of e-books
rose from 1.2% in 2011 to 2.2% in 2012. The fall in sales was less dramatic than in other
sectors of the entertainment and leisure industry, however (CDs, DVDs, games). 120
BNA sector study, Conjunctuurmeting voorjaar 2013, carried out by Panteia Research in Progress on behalf of the BNA (the
sector association of Dutch architectural firms).
122
http://www.cbs.nl/nl-NL/menu/themas/financiele-zakelijke-diensten/publicaties/artikelen/archief/2013/2013-07-architecten-art.htm (accessed 20 August 2013)
123
BNA sector study, Conjuctuurmeting (2013).
124
In ‘t Veld J. et al., Economische ontwikkeling in de cultuursector, 2005–2012 (2013). Libraries, cultural education, and heritage
sites were not included.
125
In the case of cinemas and art cinemas, only the latter received funding from the municipalities.
126
That is the case, for example, with the visual arts; here, it was only data on art centres and art purchase arrangements that
was available for the study. In the case of the film sector, the production side was not covered at all.
121
http://www.cbs.nl/nl-NL/menu/themas/dossiers/conjunctuur/publicaties/artikelen/archief/2013/2013-052-pb.htm (accessed
19 August 2013).
120
http://www.kvb.nl/feiten-en-cijfers/kerncijfers (accessed 16 August 2013). Based on SMB/GfK Retail and Technology Benelux
boeken, 2012.
119
68
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\
4 \ The economic value of culture
• Supply trend in the performing arts subsector
Supply declined in the 2008 to 2012 period, except for cinemas and art cinemas and
institutions funded by the Performing Arts Fund NL (“FPK institutions”). In the case of the
performance venues that are members of the Netherlands Association of Theatres and
Concert Halls (VSCD), institutions funded in the Basic National Infrastructure on Culture
(“BNI institutions”), and the Association of Dutch Pop Music Venues and Festivals (VNPF),
supply has been decreasing annually by 2% to 2.5%. The decline among commercial
theatre producers (VVTP) has been somewhat larger.127
Table 4.2 Average annual increase in attendance and visitor figures, 2005–2012129
Average annual increase in attendance and visitor figures (in %)
---------------------------------------------------------------------------------------------------------------------------------------------------------------------.................................................................................................................................................
2005 - 2008 2008 - 2012 2005 - 2012
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Cinemas and art cinemas
4,5 6,75,8
.................................................................................................................................................
VSCD venuesa
VSCD venuesa
Table 4.1 Average annual increase in number of performances 2005–2012 Average annual increase in number of performances (in %)
128
Commercial theatre producers (VVTP) 3,2 -10-4,6
.................................................................................................................................................
State-funded museums
.................................................................................................................................................
BNI institutions for performing arts, totala3,9
FPK institutions for performing arts, totala0,4
-3,6 -1,9
.................................................................................................................................................
2,7 -2,4-0,2
a
.................................................................................................................................................
VNPF venues -1,8 0,6
.................................................................................................................................................
.................................................................................................................................................
a
1,9 7,65,1
.................................................................................................................................................
2005 - 2008 2008 - 2012 2005 - 2012
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Dutch films at cinemas and art cinemas
-8,4
12,5
7,1
VSCD venues 6,3 -3,20,7
.................................................................................................................................................
----------------------------------------------------------------------------------------------------------------------------------------------------------------------
a
1,9 -5,3-2,3
.................................................................................................................................................
Excluding festivals. The figures therefore differ from results published previously.
-2,3 -2.6-2,5
.................................................................................................................................................
Commercial theatre producers (VVTP)
5,3
-3
0,5
• Attendance and visitor figures
Between 2008 and 2012, it was only visits to state-funded museums (+7.6% per year) and
cinemas and art cinemas (+6.7% per year) that showed an increase. In the case of cinemas
and art cinemas, this was in part due to a rise in the number of multiplexes and the
success of Dutch films.130
Since 2008, attendance figures for FPK institutions fell by 3.6% per year. During the same
period, attendance figures for commercial theatre producers also fell (down 10% per
year), despite a sharp drop in ticket prices. At the same time, VSCD venues faced a fall in
audience numbers (down 5.3% per year), as did VNPF venues (down 3.2% per year).
Attendance and visitor figures for institutions making up the Basis National Infrastructure
(BNI) fell less on average than the figures for FPK institutions.
• Ticket prices/“quasi-ticket prices”
No useful information is available about trends in ticket prices at cultural institutions.
Ticket prices in all subsectors have therefore been approximated by dividing the total
box-office receipts by the number of visits (including discount schemes and free admission). If buy-out fees apply, the theatre’s box-office receipts may differ from the revenues
of the company performing.131 One can therefore also speak of “quasi-ticket prices”.132
.................................................................................................................................................
BNI institutions for performing arts, totala -0,2
-2,5
-1,5
.................................................................................................................................................
FPK institutions for performing arts, totala 2,2
2
2,1
.................................................................................................................................................
a
Excluding festivals. The figures therefore differ from results published previously.
Idem In the case of Tables 4.2 and 4.3, it should be noted that, unlike the other sectors, cinemas and the commercial theatre
producers
130
Idem (Section 3, subsection 3.4).
131
The average ticket price calculated in this way is primarily suitable for analysing price changes (and their effects) over time.
The assumption in such analysis is that the relationship between the box-office price and the fee that companies receive
remains relatively constant over time.
132
In the interests of keeping the text and tables legible, we will refer below to “ticket prices”.
129
In ‘t Veld J. et al., Economische ontwikkeling in de cultuursector, 2005–2012 (2013). (Section 0, paragraph 0.4.)
Idem (Section 0, subsection 0.4).
127
128
70
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4 \ The economic value of culture
\>
Between 2008 and 2012, ticket prices rose most sharply at VNPF venues (+4% per year),
with the increase even topping that for competing leisure activities (+1.4% per year). This
is one reason why attendance at VNPF venues fell since 2008. The price hikes at cinemas
are due to higher ticket prices for certain performances, for example 3D and IMAX,
although the relatively significant increase in tickets for these performances did not
prevent people from attending them. At the state-funded performing arts institutions,
ticket prices have, on balance, remained stable in real terms (i.e. have kept up with
inflation).133
The commercial theatre producers have been especially hard hit by the recession, with
both their ticket prices and audience numbers decreasing considerably. This is perhaps
because their ticket prices are still relatively high compared to the publicly funded portion
of the sector.134
Table 4.3 Average annual increase in ticket prices in real terms , 2005–2012
Average annual increase in ticket prices/“quasi-ticket prices” (in %)
a
135
---------------------------------------------------------------------------------------------------------------------------------------------------------------------.................................................................................................................................................
2005 - 2008 2008 - 2012 2005 - 2012
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Cinemas and art cinemas
0,5 1,71,1
.................................................................................................................................................
VSCD venuesab
2,6 -1,20,5
• Festivals136
This was the first year when separate consideration was given to the entire market
(funded and non-funded) and the supply of festivals put on in the Netherlands. In 2012
there were 698 festivals. In total, they covered 3645 days, i.e. ten festival days per
calendar day. Somewhat fewer than half the festivals were one-day events. Music
festivals dominate (72% of the total) compared to theatre (16%), art (7%), and film
festivals (4%). Music festivals also dominate in terms of attendance, attracting 66% of the
total number of people attending festivals. On the other hand, theatre festivals tended to
attract bigger audiences per festival.137
• Entrepreneurship and funding mix138
In times of dwindling public resources, the sector finds itself struggling with austerity
measures. These are leading to a change in the funding mix for cultural institutions. Table
4.4 shows the funding mix for a number of subsectors in 2012.
Table 4.4 Funding mix per subsector, 2012139 PublicRevenuesb Other contributions
fundinga from private fundsc
---------------------------------------------------------------------------------------------------------------------------------------------------------------------State-funded museumsd62%29%9%
---------------------------------------------------------------------------------------------------------------------------------------------------------------------.................................................................................................................................................
BNI institutions for
performing arts 75%23%2%
.................................................................................................................................................
.................................................................................................................................................
VNPF venuesab
FPK institutions for
performing arts 63%
33%4%
12,1 4,07,4
.................................................................................................................................................
Commercial theatre producers (VVTP) 0,6 -8,7-4,9
.................................................................................................................................................
State-funded museums
2,5 0,51,4
.................................................................................................................................................
BNI institutions for performing arts, totalb0
0
0
.................................................................................................................................................
FPK institutions for performing arts, totalb9,4
-1,4
3,1
.................................................................................................................................................
Competing leisure activities c
1,5 1,41,4
.................................................................................................................................................
Public funding: This comprises contributions from the Ministry of Education, Culture and Science or another
ministry, a cultural fund, a local authority, or the European Union.
b
Revenue: This comprises contributions from private parties who receive something in return, for example
audience-generated revenue or revenues from hospitality services.
c
Other contributions from private funds: These comprise contributions from private parties who do not receive
anything (directly) in return, for example donations from “Friends of...” societies.
d
The analysis is based on a selection of the state-funded museums for which multi-year data is available.
a
.................................................................................................................................................
Price corrected for inflation
Excluding festivals. The figures therefore differ from results published previously.
c
Consumer price index for services, culture and recreation (corrected for general inflation).
a
b
The “festivals” category is roughly defined. For example, “music festivals” are also taken to include events such as the Gay
Pride parade and evening walking festivals.
137
In ‘t Veld et al. (2013). (Section 11, subsection 11.2.)
138
Idem (Section 13, subsection 13.2).
139
FPK, Ministry of Education, Culture and Science (APE/Rebel version).
136
Idem (Section 0, subsection 0.5).
Idem (Section 0, subsection 0.5).
135
Idem (Section 0, subsection 0.4).
133
134
72
/
73
\
4 \ The economic value of culture
\ >
• Funding mix: public and private funds
There was little change in the funding mix for the state-funded museums over the whole
period from 2005 to 2012. Since 2010, however, public funding has declined in importance, while commercial revenue and revenue from other private sources has grown more
significant. Nevertheless, public funding remains the most important source of revenue.140
Where the BNI institutions for performing arts are concerned, the funding mix has
remained virtually unchanged. In 2005, these institutions received 77% of their revenue in
the form of public funding; in 2012, the figure was about 75%. There was also hardly any
change in the funding mix for the FPK institutions in the 2009 to 2012 period. All the
sectors reviewed here have seen an increase in the relative proportion of “other contributions from private funds” in recent years. Commercial revenues are expected to become
more important to the state-funded museums in 2013 compared to public funding. One
reason for this is the reopening of the Rijksmuseum in Amsterdam and the importance of
that museum within the group of 23 state-funded museums.141 A further indication is the
observed increase in the number of visitors to state-funded museums in recent years.
4.4 Employment
4.4.1 Size of the sector
At the end of 2010, the cultural sector had some 256,000 people on its books either as
paid employees (full-time or part-time) or as self-employed professionals, i.e. 3.3% of the
working population of the Netherlands. Some two thirds of those working in the cultural
sector are paid employees and about one third are self-employed professionals. The
number of people working in the sector is distributed more or less equally across the
three subsectors listed in Table 4.5.
• Labor-years
The economic significance of this work can be expressed by converting the jobs and the
work of self-employed workers into labor-years. The total number of labor-years in 2010
was more than 190,000. The number of person-years in the arts and cultural heritage
subsector was slightly smaller than in the other two subsectors (see Table 4.5). The
number of self-employed workers in the media and entertainment subsector was also
considerably smaller than in the other sectors. Only 23% of the number of labor-years for
self-employed workers came from that sector. There are large numbers of self-employed
workers in the cultural sector. In 2010, 9% of self-employed workers in the Netherlands
worked in that sector.142 In the cultural sector as a whole, one third of workers were
self-employed as opposed to two thirds in paid employment.
Idem (Section 13, subsection 13.2.1).
Idem (Section 13, subsection 13.5).
Based on Statistics Netherlands figures for 2010: http://statline.cbs.nl/StatWeb/publication/?VW=T&DM=SLNL&PA=80150N
ED &D1=0-3,5&D2=0,28-32&D3=11,16,21,26,31,36,41,46,51,56&HD=120305-1502&HDR=T&STB=G1,G2 (accessed 22 August
2013)
Table 4.5 Jobs, self-employed workers and man-years in the cultural sector (2010)143
----------------------------------------------------------------------------------------------------------------------------------------------------------------------
Number
Number of of jobs
self-employed
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Total cultural sector
162.830
142
74
/
92.820
124.130
65.943
190.073
.................................................................................................................................................
Arts and cultural heritage
47.550
38.480
32.470
27.525
59.995
.................................................................................................................................................
Media & entertainment
61.950
21.870
48.330
15.251
63.581
.................................................................................................................................................
Creative business services
53.330
32.480
43.320
23.175
66.495
.................................................................................................................................................
Notes:
Conversion of the number of jobs into person-years is based on a part-time factor determined by Statistics
Netherlands. In 2010, a job in the cultural sector was equivalent on average to 0.76 person-years. In the case of
self-employed in person-years, calculation was based on the rule that a self-employed person who is entitled to the
self-employed persons’ allowance (i.e. someone who works a minimum of 1225 hours per year in a self-owned
commercial enterprise) counts for 0.875 person-years and a self-employed person who is not so entitled counts as
0.375 person-years.
Table 4.6 Trend in jobs and number of self-employed workers in the 2004-2010 period144
2004 - 2008
2009
2010
2011
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Total jobs
8,2% -4,1% -0,4%-1,8%
---------------------------------------------------------------------------------------------------------------------------------------------------------------------.................................................................................................................................................
Arts and cultural heritage
17,3%
0,7%
-2,4%
1,9%
.................................................................................................................................................
Media & entertainment
-4,9%
-6,4%
-0,1%
-0,9%
.................................................................................................................................................
Creative business services
23,6%
-4,7%
1,1% -6,2%
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Total self-employed workers 37,2% 0,1%5,5% n.b.
.................................................................................................................................................
Arts and cultural heritage
39,6%
8,0%
5,4%
n.b.
.................................................................................................................................................
Media & entertainment
42,4%
-5,9%
5,2%
n.b.
.................................................................................................................................................
Creative business services
30,7%
-1,8%
5,8%
n.b.
.................................................................................................................................................
Notes:
Growth rates up to and including 2009 cannot be directly compared with those from 2010 because a new Standard
Industrial Classification (SBI 2008) was introduced in 2010. The growth figures for the number of jobs in 2011 are
based on provisional figures.
140
141
Jobs Self-employed
Total
in
in
man-years
man-yearsman-years
Figures supplied by Statistics Netherlands, July 2013.
Idem.
143
144
75
\
4 \ The economic value of culture
\ >
• Fewer employees, more self-employed persons
The economic recession is affecting the trend in employment in the sector. The growth in
the number of jobs declined slightly between 2009 and 2010, by 0.4%. Provisional figures
for 2011 indicate a further fall in the number of jobs. The number of self-employed
workers in the sector grew in 2010 by 5.5% compared to 2009 (see Table 4.6).
Interestingly, the growth was accounted for entirely by self-employed persons who do
not qualify for the self-employed persons’ allowance. These are therefore self-employed
people who devote fewer than 1225 hours of work a year to their business. In fact, the
number of self-employed persons who do qualify for the self-employed persons’
allowance fell by more than 4.5%. The growth in the number of person-years in 2009–
2010 was hence only 0.4%. That growth was based entirely on the increase in the volume
of work in the creative business services subsector (Table 4.7). No figures for selfemployed workers are yet available for 2011.
4.4.2 Match between education and labour market146
Figure 4.5 Unemployment among graduates (full-time) of universities of applied sciences
(as percentages), 18 months after graduation
14,00%
12,00%
10,00%
8,00%
6,00%
4,00%
Table 4.7 Growth in man-years self-employed persons in the period 2009–2010145
2009
2010
Growth
Self-employed Self-employed 2009 – 2010
inin
man-yearsman-years
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Total cultural sector
65.71065.9430,4%
----------------------------------------------------------------------------------------------------------------------------------------------------------------------
2,00%
0,00%
Universities
of applied
sciences, total
.................................................................................................................................................
• Arts and cultural heritage
27.570
27.525
2008
15.370
15.251
22.770
23.175
2009
1,8%
.................................................................................................................................................
Idem.
www.cijfer.hbo-raad.nl (accessed 18 July 2013).
HBO-monitor 2012.
146
147
/
2010
Teaching
Social and
community
work
2011
Technical
Arts
2012
• Unemployment among graduates
Some 4500 students graduated from a programme in professional arts education in 2011.
That was 6.3% of the total number of graduates from universities of applied sciences.147 In
2011–2012, 11.9% of graduates of professional arts programmes were unemployed (18
months after graduating). The figure for universities of applied sciences overall was 9%
(see Figure 4.5). Professional arts education scored approximately the same as agricultural and economics programmes. There are major differences, however, within professional arts education: independent visual arts (full-time) scored significantly higher at
19.3%. Unemployment among music graduates (full-time) and heritage professionals
(full-time) was lower this year, at 18% and 16% respectively. Unemployment among
graduates is in fact lower than the average in some programmes, for example teacher
training programmes in music and drama, theatre staging, dance, and the Master’s
programme in arts education. The unemployment percentages fluctuate considerably
145
76
Healthcare
In 2012, more than 20,000 students were enrolled in professional arts education. That is
4.8% of the total number of students at “universities of applied sciences” (“HBO”
students). The largest sector within professional arts education is design, which accounts
for three out of ten students enrolled in arts education programmes.
-0,8%
.................................................................................................................................................
• Creative business services
Economics
-0,2%
.................................................................................................................................................
• Media & entertainment
Agricultural
77
\
4 \ The economic value of culture
. . . . . . . . . . . . . . .
\>
over the years, meaning that the figures for any single year are not necessarily representative. It is clear, however, that unemployment among graduates of professional arts
education programmes has increased in recent years, as it has among all graduates of
universities of applied sciences.148
In 2012, a new graduate from a cultural programme spent three to ten months looking for
a job. A research university graduate with the same subject cluster spent longer, namely
between six and twelve months.149 In 2012, approximately six out of ten graduates of a
full-time professional arts programme found a job as an artist, performer etc. or in
another creative profession. Of graduates in paid work, 66% assessed the match between
their training and their professional work as being good/satisfactory. That is lower than
the average for universities of applied sciences overall, namely 76%.150
• The “hybrid artist”
The study De Hybride Kunstenaar [The Hybrid Artist] examined the changing professional
pursuits of visual artists in Flanders and the Netherlands since 1975.151 It showed that no
fewer than 86% of the visual artists surveyed combined their independent artistic output
with applied activities such as design, art commissions, illustration work, or teaching. No
more than 14% of the active artists lived up to the traditional image of an artist who lives
off nothing other than his/her own artistic output. That proportion would seem to be
declining even further.152 The professional mix of many artists is a familiar phenomenon,153
but the study adds a new element, namely hybridisation. A “hybrid artist” undertakes
both independent and applied artistic work but blurs the boundary between the two,
either entirely or partly. More than 40% of the artists surveyed categorise their own
professional work as hybrid. Most of them believe the hybrid nature of their work is
increasing. Applying stricter criteria, the researchers categorise more than 20% of the
artists as “hybrid artists”, and they conclude that present-day professional work requires
artists to adopt a hybrid approach. Nevertheless, many artists continue to make a clear
distinction between their own, independently motivated work and the work that they do
on commission. The commissioned work enables them to produce their own works of art,
but it also threatens to take up more and more of their time. The scope for working on
their independent projects is shrinking. A considerable number of the graduates say that
they are gradually winding down their independent artistic output.154
In terms of the match between graduates’ education and their professional work, the
picture is a mixed one. On the one hand, most graduates are satisfied with the amount of
time that their programme devoted to personal artistic development. On the other hand,
they criticise the extent to which the programme prepared them for the commercial and
professional aspects of their profession.155 The sector plan for professional arts education
(KUO) includes measures for improving this aspect of the programmes.
........................................................................................................
Sector plan
/>
In 2012, the sector plan for professional arts education [Sectorplan Kunstvakopleidingen,
KUO] went into effect for a four-year period. The plan provides for a reduction in the
intake of students (a decrease of 1383 students) and seeks to improve quality (for example
by investing in entrepreneurship, preparatory courses, research, and the number of
Master’s degree courses). Under the plan, the universities of applied sciences are working
on developing more distinct identities and a clearer division of responsibilities.
The first progress report shows that there has already been an across-the-board
reduction in the number of students enrolled in the courses concerned, resulting in a total
of 797 fewer enrolments. The institutions have also developed the necessary activities in
the area of entrepreneurship, and the lectorates [lectoraten] have been surveyed with a
view to developing joint research themes. Finally, steps have been taken to improve
programmes of training for art teachers and as well as the quality of those teachers. The
set of competencies and the knowledge base have been developed and the professional
profile will be revised in the course of 2014.
. . . . . . . . . . . . . . .
........................................................................................................
HBO-monitor 2012.
Studie en Werk 2013, SEO onderzoek, pp. 24–25.
HBO-monitor 2012.
151
Winkel van C., Gielen P. & Zwaan K. (2012), De Hybride Kunstenaar de organisatie van de artistieke praktijk in het
postindustriële tijdperk. Expertise kunst en Vormgeving, AKV.
152
Idem, pp. 73–74.
153
Cf., for example, Abbing, Hans, Why are Artists Poor?
154
Winkel van C., Gielen P. & Zwaan K. (2012), De Hybride Kunstenaar de organisatie van de artistieke praktijk in het
postindustriële tijdperk. Expertise kunst en Vormgeving, AKV, p. 79.
155
Idem, p. 45.
148
149
150
78
/
79
\
4 \ The economic value of culture
4.5 Philanthropy
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Total
€ 2.279 € 2.163 € 3.422 € 3.615 € 4.924 € 4.376 € 4.559 € 4.707 € 4.252
Table 4.9 Donations to culture as a percentage of total donations to good causes 1995–2011158
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
1995 1997 1999 2001 2003 2005 20072009 2011
4.5.1 Trends in donations to the arts and culture
In 2011, private individuals, businesses, private funds, and charity lotteries donated 4.25
billion euros to good causes. This represents 0.7% of the country’s gross domestic
product. In 2009, almost half a billion euros more went to good causes.156 The figures
indicate that the economic crisis first made itself clearly felt in the philanthropic sector in
2011.
..........................................................................................................................................................................
Churches and ideologies
€ 587
€ 510
€ 490
€ 750
€ 938
€ 773 € 1.001
€ 891
€ 806
..........................................................................................................................................................................
Health
€ 411
€ 290
€ 640
€ 406
€ 589
€ 477
€ 479
€ 644
€ 487
..........................................................................................................................................................................
International aid
€ 361
€ 299
€ 540
€ 531
€ 469
€ 742
€ 545
€ 572
€ 569
..........................................................................................................................................................................
Table 4.8 Trend in donations 1995–2011157
Trend 1995 – 2011
----------------------------------------------------------------------------------------------------------------------------------Total
87%
-------------------------------------------------------------------......................................................................................................
Churches and philosophies of life
37%
......................................................................................................
Health18%
......................................................................................................
International aid
58%
......................................................................................................
Environment, nature
conservation, animal welfare
Environment, nature
conservation
€ 204
€ 183
€ 308
€ 251
€ 309
€ 356
€ 375
€ 435
€ 376
..........................................................................................................................................................................
Education and research
€ 58
€ 83
€ 232
€ 125
€ 301
€ 277
€ 295
€ 285
€ 150
..........................................................................................................................................................................
Culture
€ 83
€ 87
€ 165
€ 335
€ 610
€ 326
€ 386
€ 454
€ 287
..........................................................................................................................................................................
Sport and recreation
€ 246
€ 410
€ 578
€ 686
€ 930
€ 686
€ 687
€ 715
€ 702
..........................................................................................................................................................................
Society/social objectives
€ 283
€ 257
€ 422
€ 373
€ 555
€ 522
€ 575
€ 458
€ 525
..........................................................................................................................................................................
Other
€ 46
€ 44
€ 47
€ 158
€ 223
€ 220
€ 216
€ 253
€ 349
..........................................................................................................................................................................
84%
Percentage culture
4%4%5%9%12% 7%8%
10%7%
......................................................................................................
..........................................................................................................................................................................
Education and research
Amounts in millions of euros
159%
......................................................................................................
Culture246%
......................................................................................................
Sport and recreation
185%
......................................................................................................
Society and social objectives
86%
......................................................................................................
Other659%
......................................................................................................
Schuyt, T., Gouwenberg B. & Bekkers, R., Geven in Nederland 2013 Giften, Nalatenschappen, Sponsoring en Vrijwilligerswerk
(2013), p. 11.
157
Idem. Data adapted from that study.
In 2011, a total of 287 million euros was donated to the cultural sector. This comprised
donations from households, legacies, asset funds, and donations or sponsorship by
businesses and lotteries. Almost all sectors saw donations decline in 2011 as compared to
2009 (see Table 4.9). In the case of the cultural sector, donations were almost halved.
Despite the fall between 2009 and 2011, the number of donations to culture over the
entire period (1995–2011) increased much more than in most other sectors (see Table 4.8).
Moreover, donations to culture as a proportion of total donations have remained
relatively stable since the start of the twenty-first century. That proportion fell from 10%
in 2009 to 7% in 2011, but did not drop below 2005 and 2007 levels (see Figure 4.6).
Although the Dutch are donating less to good causes, generally speaking, donations to
the arts and culture remained relatively stable between 1995 and 2011. Donations to the
arts and culture have, however, been hit harder by the economic crisis, relatively
speaking.
156
80
/
Idem., p. 12. Adaptation of table.
158
81
\
4 \ The economic value of culture
Figure 4.6 Sources of donations to culture 1995–2011159
• Distribution of donations across different categories
A significant proportion of donations from asset funds (29%) go to the arts and culture.
Only 9% of households donate to causes in the area of culture, with the average annual
donation being 36 euros. Wealthy people donate significantly more to culture than the
average person. In 2011, 33% of that group donated an average of 1467 euros to the arts
and culture.161 Visitors to cultural institutions say that they do not make a financial
contribution because they are not asked to do so. The cultural sector may thus be able to
make more use of visitor donations.
• Increasing popularity of crowdfunding
In addition to traditional philanthropy as outlined above, crowdfunding is becoming
increasingly popular as a new form of financing. Crowdfunding involves entrepreneurs (in
this case, cultural entrepreneurs) collecting money directly from a large number of small
(private) financiers, rather than taking out a single large loan from a bank. Since the
austerity measures were announced in 2011, crowdfunding is being used more and more
frequently to finance cultural initiatives. Investors also increasingly view crowdfunding as
a serious revenue model.162 One recent example of successful crowdfunding was the
exhibition The Road to Van Eyck at the Boijmans Van Beuningen Museum in Rotterdam.
The exhibition became possible because the museum was able to raise enough money
through crowdfunding.163 Another example is “Museumpark Orientalis”, which was saved
from closure when crowdfunding raised the sum of 700,000 euros.
• Proceeds from crowdfunding
The past few years have seen the first studies of crowdfunding. The Crowdfunding Industry
Report looked at the proceeds from crowdfunding worldwide between 2009 and 2012.164
The report showed that in 2011 crowdfunding had raised 1.5 billion dollars, which had
been used to finance more than a million projects. According to the study, 29 crowdfunding platforms operate in the Netherlands, putting this country third in the world after the
United States and the United Kingdom. In the Netherlands, 14 million euros was financed
by means of crowdfunding in 2012, whereas only 4 million euros had been collected in
2010. In 2011, 1.9 million euros generated by crowdfunding went to creative projects.165 A
total of 570 projects and businesses were financed, somewhat fewer than half of which
were creative projects.166 Crowdfunding is gaining ground in the cultural sector, but the
significance of this source of funding will need to become clearer in the next few years.
2011
2009
2007
2005
2003
2001
1999
1997
1995
€0
€ 100
Households
€ 200
Legacies
€ 300
Funds
Businesses
€ 400
Lotteries
€ 500
€ 600
€ 700
millions >
• Fewer donations from businesses
Businesses have traditionally donated the most to the arts and culture. The sharp fall in
the number of donations in 2011 was in fact largely due to there being fewer donations
from businesses. In 2009, businesses donated 296 million euros, but by 2011 that figure
had fallen to 124 million euros, a decline of some 58%. Nevertheless, businesses are still
the major source of donations to the arts and culture. In 2011, households and funds also
donated less to the arts and culture, respectively 21% and 9% less than in 2009. The sharp
fall in 2011 appears to be associated with the continuing economic crisis. Businesses also
appear to be deciding on an ad hoc basis whether to donate to a particular cause, leading
to a large number of fluctuations in donation behaviour.160 One point worth noting is that
donations from lotteries and legacies in fact rose in 2011 compared to 2009.
Idem.
Polak, N., “Het publiek als financier”, De Groene Amsterdammer (17 April 2013).
163
http://www.boijmans.nl/nl/416/ (accessed 10 July 2013).
164
Crowdsourcing.org, Crowdfunding Industry Report: market trends, compositions and crowdfunding platforms (2012).
165
This comprises all kinds of projects, ranging from theatre to film, from dance to culinary projects, and from games to comics.
166
Douw&Koren Crowdfunding Consultancy, Crowdfunding Nederland 2012. This study comprises data on all the crowdfunding
platforms in the Netherlands. Tweets and the researchers’ personal knowledge and contacts also provided information
about crowdfunding projects outside the scope of the platforms.
161
162
Schuyt, T., et al. (2013).
Idem.
159
160
82
/
83
\
‘Private donations’
Outset Contemporary Art Fund is an international philanthropic organisation that
supports new art. It arranges private contributions to public museums and art projects.
Outset Netherlands was launched in March 2012, an event marked by two donations to
Dutch museum collections. The Municipal Museum of The Hague received Untitled (Miss
Miss finally gives in by the tree where Aeaen sought to bamboozle the One-Armed
Snake), an installation by Charles Avery produced with the support of Outset UK. Outset
UK also funded Zamach, the third film in Yael Bartana’s The Polish Trilogy. The film was
donated to the Van Abbe Museum in Eindhoven and the Museum of Modern Art in
Warsaw. Gwen Neumann, director of Outset Netherlands, talks about private funding.167
4.5.2 Donation campaign
• Gift and Inheritance Tax Act
The Dutch government wishes to encourage donations to the arts and culture and has
therefore made this more attractive from the tax point of view. To that end, the Gift and
Inheritance Tax Act [Geefwet] came into force in 2012; it was approved by the European
Commission on 20 March 2013. The scheme provides a temporary additional tax benefit
of 25% for private donations to “organisations existing for the public benefit that are of a
cultural nature” (known by the acronym “ANBIS-C”). When submitting their corporation
tax return, companies can increase the tax deduction for their donation by 50%. The Act
has been extended by one year so that donors can make use of this provision up to and
including 2017. It is too early to measure the effects of the Gift and Inheritance Tax Act.
There will ultimately be a wide-ranging evaluation of the use made of this tax facility. The
Ministry of Education, Culture and Science is currently discussing that evaluation.
• Donation campaign
In collaboration with the cultural sector, the Ministry of Education, Culture and Science
has launched a campaign [Cultuur, Daar Geef Je Om] meant to encourage people to
donate money to the arts and culture. The trend in donations to culture, outlined above,
emphasises the importance of the campaign. It forms part of a more wide-ranging
campaign to promote philanthropy for the benefit of various sectors in the Netherlands.
The campaign focuses on the one hand on encouraging the practice of donation among
the public, in part by familiarising them with the provisions of the Gift and Inheritance Tax
Act. On the other hand, it makes cultural institutions aware of opportunities to generate
revenue from philanthropic sources.168
“Our aim is to give today’s artists a platform. In that context, we always work with
institutes and curators. The funding is provided by patrons, private individuals who are
deeply interested in contemporary art. We run an extensive programme for them,
including international trips and visits to exhibitions.
Outset Netherlands has made a flying start over the course of just one year. That leads me
to believe that the Netherlands is not without a culture of donation. And the stereotype
image of donors mainly being well-educated people over the age of fifty is simply wrong.
The patrons of Outset Netherlands come from all different age groups.”
Interview with Gwen Neumann, 12 July 2013.
167
84
/
http://www.daargeefjeom.nl/
168
85
\
<\
CULTURE AT A GLANCE
2013
5
The publicly funded sectors
5.1 Introduction
This section deals with government funding for cultural institutions. Of the three tiers of
government, the municipalities provide the most funding for the arts and culture. They
are responsible for local facilities and accommodation. The Basis National Infrastructure
(BNI) consists of institutions that play a national and/or international role and that are
supported financially by the state and other government authorities. The support
provided by the national cultural funds is aimed more at small and medium-sized
institutions, innovation, and talent development.
This section gives an idea of the trend in funding. It also outlines the main trends in the
various sectors and the results achieved by those institutions during the 2009–2012
funding period.
5.2 Trend in expenditure on the cultural sector by the
“G35” municipalities and the provinces
Two thirds of all public funding for the arts and culture comes from the provinces and
municipalities. Where cultural policy is concerned, it is therefore important to track trends
in expenditure by other public authorities. A study carried out on behalf of the Ministry of
Education, Culture and Science clarified those trends at the 35 largest municipalities (the
“G35”) and the 12 provinces in the period from 2011 to 2013. The main conclusions of the
study are as follows:169
• In the period from 2011 to 2013, the net contribution170 to the arts and culture by the
G35 and the provinces fell from some 1374 million euros in 2011 to some 1249 million
euros in 2013. That represents a fall of 9%.
• The net contribution declined most in the case of the provinces (down 23%) and least in
the case of the G35 (down 4%).
• There was a sharper decline in net contribution between 2012 and 2013 (down 8%) than
between 2011 and 2012 (down 1%).
The performing arts and visual arts bore the brunt of the province’s austerity measures
(down 42% and 33% respectively, see Appendix Section 5 Table A). The increase in
provincial spending on historical archives is striking (68%). This is because the Regional
Historical Centres (RHC) were reallocated to the provinces in 2013; the associated
preparation costs were already incurred in 2012. Both the municipalities and the provinces
also cut a fair amount of their expenditure in the “other” category (G35: down 24%;
provinces: down 32%). Almost half of this was made up of general overheads and the rest
of items that cannot be allocated to one of the other disciplines. The biggest reduction
concerned heritage sites and archaeology, the visual arts, and festivals. The figures are
Cebeon, Uitgaven cultuur door de G35 en de provincies 2011-2013, August 2013 (report 591013 – 007), p. 6. The 12 provinces
and the 9 largest cities collaborated in the study. Of the other 26 largest towns/cities, four were unable or unwilling to
provide data.
170
The study assumes the net expenditure, i.e. the total (gross) expenditure minus any revenue covering this municipal
expenditure. Such income may, for example, comprise contributions by users, rental income, or earmarked contributions by
other authorities. For further explanation, see Cebeon (2013), p. 14.
169
87
\
5 \ The publicly funded sectors
\>
averages for each category of municipality and the provinces; individual municipalities
and provinces may differ considerably in the choices they make.
Statistics Netherlands also recently published figures on municipal expenditure on the
arts and culture. These figures are based on a much rougher categorisation than the study
referred to above. They broadly confirm the picture presented above for the municipalities.171 The Cebeon figures may differ from those in Table 5.1. Cebeon has attempted to
show all net expenditure on the arts and culture, including, for example, on heritage sites,
archaeology and archives, and one-off funding. However, Table 5.1 shows only the trends
for institutions receiving long-term funding.
The authorities are facing major financial challenges. Funding amounts can therefore be
expected to decrease further. A recent study commissioned by the Association of
Netherlands Municipalities (VNG)172 estimates the spending constraints and options for
municipalities.
5.3 Trends in the publicly funded cultural sector
• Database for the publicly funded cultural sector
The analyses below are based on a database of institutions that receive multi-year
funding. National government developed that database for this purpose, together with
the national cultural funds and the “G9” cities173 based on the data already collected by
the parties. The data is derived from the annual reports and funding applications that
institutions submit to the funding bodies. The idea is to expand the database to cover the
G35 municipalities and to further standardise and combine the information available in
order to analyse the publicly funded cultural sector in terms of supply, distribution, and
reach. In the longer term, this initiative can also play an important role in reducing the
institution’s administrative burden, for example by implementing a uniform system of
funding applications and reporting. The current database does not offer a complete
picture of the impact of the austerity operation on the sector. The figures presented do
give a good impression of the changes that are taking place in the publicly funded cultural
landscape.
• The present
Decision-making on the applications for multi-year funding in the cultural sector has
been completed. This makes it possible to provide an overview of the cultural institutions
that receive funding from the national government and the four major cities (the G4). This
year, the G9 cities provided figures in addition to their G4 counterparts. The figures for
“non-G4 cities” within the G9 – referred to below as the “G5 cities” – can be regarded as a
very large sample rather than a comprehensive overview. We provided an initial sketch in
Culture at a glance 2012, but at that point the municipalities had not yet taken all their
decisions regarding the period from 2013 to 2016.
What does the publicly funded cultural landscape look like for the national government
and the G9 in 2013? Table 5.1 provides an overview of numbers of institutions and the
budget allocated in 2012 and 2013. The year 2012 was the end of the previous funding
period (2009–2012) and 2013 the beginning of the new period (2013–2016).
The municipalities differ most when comparing the present to Culture at a glance 2012,
owing to the changes in final allocation. That applies primarily to the number of institutions. From the budgetary perspective, little has changed. Within the G4, the number of
institutions remained virtually the same, on average, whereas the budget fell by an
average of 14%. The City of Amsterdam has allocated funding to a larger number of
institutions. Among the other municipalities, the budgets for cultural institutions have
fallen slightly. In the case of those municipalities too, the number of institutions has
remained stable or increased slightly. In total, the funding awarded to institutions within
the G9 receiving long-term support fell by about 11%, whereas the number of institutions
fell by only 2.4%.
CBS/Statistics Netherlands (2013) “Bezuinigingen gemeenten op kunst en cultuur worden zichtbaar”. Webmagazine, Monday
16 September 2013. Statistics Netherlands used the “IV3” classification: public library services, training and development,
arts and archaeology/museums.
172
Allers M.A. et al., Gemeenten in perspectief, COELO/Rijksuniversiteit Groningen (2013), COELO report 13–4.
173
Amsterdam, Arnhem, Eindhoven, Enschede, Groningen, Maastricht, Rotterdam, The Hague, and Utrecht.
171
88
/
89
\
5 \ The publicly funded sectors
Table 5.1 Past/future table showing institutions receiving multi-year funding in 2012–2013 from
the national government, the cultural funds, and the G9 cities
(funding amounts in millions of euros)
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Number of
institutions
2012
Funding
2012
Number of
allocations
2013
Trend in
number of
institutions (%)
Amount
allocated
2013
Change in
funding
amount (%)
---------------------------------------------------------------------------------------------------------------------------------------------------------------------National government
(BNI) 172 404
86
-51,2
327,0
-19,1
• Performing arts
Fund NL
118
39,2
82
-31,3
25,4
-35,2
---------------------------------------------------------------------------------------------------------------------------------------------------------------------..........................................................................................................................................................................
• Cultural Participation
Fund
27
5,0
18
-33,3
3,0
-40,0
• Past and present: little change
There has been a major increase in the number of cultural institutions receiving four-year
state funding since 1997. In fact, the increase was so large that it led to a large number of
institutions being transferred in 2006 to the Performing Arts Fund (FPK) and the Cultural
Participation Fund (FCP). The institutions receiving multi-year funding are currently
distributed across the Basis National Infrastructure (84 institutions)174 and six funds (120
institutions). The basic structure funded by the national government has remained
virtually the same. Some 110 institutions now (2013–2016) funded by the national
government already received funding in 1997. Eight years ago, that was 170 out of the
total of 204 institutions receiving multi-year funding in 2013. The state funding system
displays a high degree of continuity. That is certainly the case for the institutions making
up the present Basis National Infrastructure , 83% of which have been receiving funding
since 1997. Most of the dynamic shifts are to be found in the Performing Arts Fund, with
16 newcomers receiving multi-year funding from that fund during the current period.
..........................................................................................................................................................................
• Creative Industries
Fund NL
unknown
10
n/a
2,8
unknown
5.4 Results in the publicly funded cultural sector
..........................................................................................................................................................................
• Film Fund
6
3
-57,1
0,8
Figure 5.1 shows that the total turnover of the institutions making up the Basis National
Infrastructure and the G4 rose over the past four years by almost 8%. Growth in turnover
therefore kept pace with inflation to a greater or lesser extent. During that period,
however, institutions faced very few, if any, any austerity measures. The institutions that
received funding from the Performing Arts Fund and the Cultural Participation Fund found
things more difficult, as did the institutions within the G5. There was no decline in turnover
in absolute terms but the growth in turnover was slower than inflation. The funded
institutions within the G9 had a joint turnover of just under 1.4 billion euros in 2012.
unknown
..........................................................................................................................................................................
• Dutch Foundation for
Literature
3
8
166,7
1,2
unknown
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Funds 151aunknown
121
• Amsterdam
140d 100,1
146
-20,5
33,2 unknown
---------------------------------------------------------------------------------------------------------------------------------------------------------------------4,3
82,9-17,2
..........................................................................................................................................................................
• The Hague
64
61,9 64
0
51,6
-16,6
..........................................................................................................................................................................
• Utrecht
63 31,9 63
0
33,2c4,1
..........................................................................................................................................................................
• Rotterdam
93
90,4
76
-18,3
77,6
-14,2
G4 360
284,4
349
- 2,5
245,3
-13,7
• Groningen
26
17,8
27
3,8
17,6
-1,1
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------..........................................................................................................................................................................
• Enschede
15
18,1
15 0
17,9
19
16,6
19
0
16,3
21
21
22
4,8
20,5
108,00
106,00
-1,8
..........................................................................................................................................................................
• Eindhoven
110,00
-1,1
..........................................................................................................................................................................
• Arnhem
Figure 5.1 Trend in turnover for the (culture-producing)175 institutions funded under the
Basis National Infrastructure , FPK and FCP, G4 (2009 = 100) and G5 in the
period 2009–2012 (2011 is 100)
-2,4
104,00
..........................................................................................................................................................................
• Maastricht 19
18,5
17
-10,5
17,8
-3,8
102,00
G9
460
376,3
449
-2,4
335,4
-10,9
100,00
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------a. Does not include 29 institutions funded by the Mondriaan Fund/Foundation for Visual Arts, Design and Architecture
b. It is not possible to add up the number of institutions across the column because the national government and the funds on the one
hand and the municipalities on the other “share” institutions.
c. For comparison purposes, media institutions covered under the culture budget have been disregarded. Although it is still a municipal
service, the Vredenburg Music Centre (Utrecht) is comparable, however, and has therefore been included in the overview.
d. Combined annual reports make it necessary to derive the number of institutions (140) from the accounting data for 135 institutions.
G4 institutions
BNI institutions
98,00
FPK and FCP institutions
96,00
G5 institutions
94,00
2009
2010
2011
2012
This concerns 86 grants for the BNI and 121 for the funds.
Institutions whose activities target the public, for example museums and theatre production companies.
174
175
90
/
91
\
5 \ The publicly funded sectors
\>
Almost 45% of the entire G9’s turnover is accounted for by Amsterdam. Rotterdam
follows at a considerable distance with approx. 16%.
Figure 5.2 shows a set of cultural profiles for three cities, based on the various subsectors’
share in total turnover. For illustration purposes, we have selected three random profiles.
It is clear that the supply of culture in both Amsterdam and Rotterdam is wide-ranging.
Groningen has a number of distinct priorities in museums and music (classical and
modern). Amsterdam is the country’s museum capital, although it should be noted that
the figures are distorted because some of the turnover is accounted for by the additional
refurbishment grants received by a number of large Amsterdam-based museums. The
cultural profile for Rotterdam puts somewhat more emphasis on the creative industry
and modern (contemporary) music.
Figure 5.2 Profiles for the publicly funded culture sector in Amsterdam, Groningen, and
Rotterdam 2012, with turnover in the publicly funded sectors shown as the share of
total turnover within the city
40
30
20
10
0
Visual arts
Creative industry
Dance
Dance, Youth
Film
Museums
Music, Youth
Music, ...
Music, other
Other
Rotterdam
Groningen
Amsterdam
92
/
• Self-generated revenue
Self-generated revenue is an important indicator of how funded institutions are performing.
Table 5.2 shows the percentage of self-generated revenue (total revenue as opposed to
total long-term funding)176 for 2012 by funding body and discipline. There are striking
differences between the institutions in terms of their average earning capacity. That
difference varies from more than 10% to well over 100%. Self-generated revenue can be
as much as double, triple, or even quadruple the amount received in long-term funding.
On average, the institutions making up the Basis National Infrastructure generated a
smaller percentage of revenue themselves than the institutions covered by the
Performing Arts Fund and the G4 cities. This may be due to the composition of the Basis
National Infrastructure or because the institutions that it comprises are subject to more
or different requirements. It is unlikely that the combined effect (a large number of
institutions in sectors where it is difficult to generate a lot of revenue) explains the lower
percentage of self-generated revenue. Earning capacity for each discipline is also often
lower than or the same as that of the institutions covered by the other funding bodies.
Theatre
Theatre, Youth
The City of Amsterdam applies a different definition for the percentage of self-generated revenue.
176
93
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The percentages of revenue generated by institutions for dance, light music, cultural
heritage and historical museums, and musicals/music theatre do not differ very much.
It makes no difference whether they are covered by the Basis National Infrastructure or
one of the other funding bodies. In the case of visual and other art museums, ballet
and music/musical/operetta, BNI institutions even achieve a higher percentage of
self-generated revenue. The percentages generated by theatre companies, other
museums and world/pop/jazz music covered under the Basis National Infrastructure are
in some cases significantly lower than the percentages generated by the same kind of
institutions that are not covered. The large percentage of self-generated revenue in
the Music (Youth) category is mainly due to the Princess Christina Competition. The
ethnological and natural history museums are notable for the small percentage of
self-generated revenue in 2012.
Table 5.2 Self-generated revenuea in 2012 by discipline for the various funding bodies
Situation for each funding body
National FPK
G4
G5
government
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Creative industry
---------------------------------------------------------------------------------------------------------------------------------------------------------------------.................................................................................................................................................
• Architecture
38%
45%
• New media
64%
67%
75%
.................................................................................................................................................
.................................................................................................................................................
• Design
17%
61%
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Performing arts
.................................................................................................................................................
• Dance, General 25%
48%
39%
• Dance, Ballet
47%
• Dance, Contemporary/Modern
27%
35%
29%
• Dance, Youth
39%
37%
54%
57%
54%
.................................................................................................................................................
.................................................................................................................................................
29%
.................................................................................................................................................
.................................................................................................................................................
• Dance, World Dance/Urban
.................................................................................................................................................
b
• Music, General 98% 61% 86%181%
.................................................................................................................................................
• Music, Youth
238%
• Music, Classical ensembles
88%
90%
• Music, Musical/operetta
87%
87%
62%
• Music, Opera/music theatre
33%
80%
48%
21%
• Music, Pop/Jazz/World Music
60%
125%
77%
92%
• Music, Symphony orchestras
30%
44%
20%
• Theatre, General
38%
51%
43%
25%
.................................................................................................................................................
c
456%
.................................................................................................................................................
.................................................................................................................................................
• Comparison with 2009: more turnover, lower percentages of self-generated revenue
Compared to 2009, the institutions making up the Basis National Infrastructure had
considerably more turnover, but the average percentage of self-generated revenue has
fallen by a few percent (see Figure 5.3). This also applies, on average, to the institutions of
the G4 cities. The institutions belonging to the Basic Infrastructure generated a considerably larger percentage of their own revenue in 2011 than they did in 2012. The jump in
2011 came just prior to the initial round of applications for the Basis National
Infrastructure 2013–2016 and the higher threshold requirement for self-generated
revenue. The FPK institutions showed an improvement in the percentage of selfgenerated revenue compared to 2009.
.................................................................................................................................................
.................................................................................................................................................
.................................................................................................................................................
.................................................................................................................................................
• Theatre, Youth
26%
9%
75%
13%
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Museums
.................................................................................................................................................
• Cultural heritage
72%
75%
27%
.................................................................................................................................................
• Historical
43%
31%
70%
139%
86%
65%
• Natural history
14%
93%
37%
• Other museums 22%
66%
• Ethnology
13%
148%
.................................................................................................................................................
• Art
.................................................................................................................................................
.................................................................................................................................................
.................................................................................................................................................
.................................................................................................................................................
• Science and technology
34%
---------------------------------------------------------------------------------------------------------------------------------------------------------------------Final average
43%
60%
57%
35%
----------------------------------------------------------------------------------------------------------------------------------------------------------------------
Figure 5.4 shows the trend in self-generated revenue for all the institutions funded by
national government and the G9 cities. There has been enormous pressure on the
publicly funded institutions within the creative industry in the past four years, and their
percentage of self-generated revenue fell by an average of approx. 40%. By contrast, the
self-generated revenue of the dance institutions has grown sharply (except in the case of
youth dance). Theatre companies also saw considerable growth in the percentage of
self-generated revenue. Especially those covered under the Performing Arts Fund and in
the G4 cities. The percentage of self-generated revenue of music-related institutions is
about the same as in 2009. The picture across the sector is a varied one, however. The
self-generated revenue of the classical music subsector is under pressure, in particular
that of music ensembles covered by the Performing Arts Fund and in the G4 cities. By
contrast, music festivals and competitions are doing well. On average, this translates into
a slight decline in self-generated revenue. Finally, museums generated a slightly smaller
percentage of their own revenue, on average. That was mainly due to a fall in revenue
among municipal museums. State-funded museums also had a slightly lower percentage
of self-generated revenue in 2012 than in 2009.
Self-generated revenue compared to total long-term funding (national government and FPK) and compared to
total funding (G9).
b
This concerns two funding recipients: Noorderslag and Stichting Steim.
c
This high percentage is due to two ensembles with a relatively low turnover that also receive a relatively small
amount in funding.
a
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5 \ The publicly funded sectors
Figure 5.3 Trend in percentage of self-generated revenue by funding body, 2009–2012
(2009 = 100): Basis National Infrastructure , FPK and G9.
120,00
110,00
100,00
BNI
90,00
FPK/FCP
80,00
G4
• Basis National Infrastructure : results under greater pressure
In order to determine the funding over the 2009–2012 funding period, the actual results in
each sector were compared with the predetermined targets. In most cases, the institutions making up the Basis National Infrastructure put on the planned productions and
performances177 (see Appendix Section 5 Table 5.A). They often put on significantly more
performances than had been agreed beforehand, strictly speaking. Only the orchestras
and the performing arts festivals lag behind somewhat in this regard, as do the theatre
and opera with respect to school performances. Despite this generally favourable picture,
there are institutions in virtually all sectors that are unable to put on the agreed number
of performances. If we also consider audience numbers, the picture in fact becomes
somewhat less even. Institutions in the field of dance and opera find it difficult, on
average, to achieve their targets. Youth dance, festivals, and art centres did relatively well
in terms of public outreach.
During the 2005–2008 funding period, eight institutions were penalised for putting on
too few performances/concerts. When a sanction is imposed, the degree of failure to
meet targets is converted proportionately into a reduction in the funding provided. In the
2009–2012 funding period, it was decided to dispense with this specific penalty because
only a small number of institutions had had to be penalised. This particular penalty can
also be especially onerous for institutions that are already struggling. The reason for the
decline in number of performances is unclear. Abandoning this specific policy rule may
have caused institutions to loosen the reins somewhat. Uncertainty regarding their
survival may also have put pressure on their results. Table 5.3 illustrates progress towards
achieving the predetermined targets.
G5
70,00
2009
2010
2011
2012
Percentage of self-generated revenue by institutions covered under Basis National Infrastructure and the cultural
funds is based on total long-term funding; for institutions in the G9 cities, percentage is based on total funding. This
difference is relatively insignificant when comparing indexed figures. Figures for G5 only available for 2011 and 2012.
Figure 5.4 Trend in percentage of self-generated revenue by discipline, 2009–2012 (2009 = 100):
Basis National Infrastructure , FPK and G9.
Table 5.3 Institutions covered in the Basis National Infrastructure (2005–2008 and 2009–2012
funding periods) that failed to achieve their targets.
140
Dance
120
Music
100
Theatre
80
Museums
Creative industry
60
Total
40
2009
2010
2011
2012
red = number of concerts/performances/exhibitions
blue = public outreach concerts/performances/exhibitions
failure to meet targets, in %
---------------------------------------------------------------------------------------------------------------------------------------------------------------------
0-5%
> 5%
of which Total number Total number
> 15%
of institutions of institutions a
failing to meet
targets
---------------------------------------------------------------------------------------------------------------------------------------------------------------------2005-2008
unknown
8 10
unknown unknown320
----------------------------------------------------------------------------------------------------------------------------------------------------------------------
.................................................................................................................................................
2009-2012
23 15 30 24
30 16
53 39149
--------------------------------------------------------------------------------------------------------------------------------------------------------------------- excluding the theatre production centres for the performing arts [productiehuizen] and sector institutions
a
177
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In a number of cases, the tables do not include the targets but the adjusted results. This is because lower targets were
agreed for a number of institutions that are being phased out.
97
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\>
Table 5.3 shows how many institutions score below the agreed target and to what degree
on two indicators (number of performances and attendance). The second column shows
the number of institutions that scored 0–5% below target on these indicators. In the
2009–2012 funding period, 24 institutions had attendance figures more than 5% lower
than budgeted; of these 24, 16 had attendance figures more than 15% below target. The
percentages are calculated by comparing targets with actual results.
The type of productions put on at the venues is also changing. Insiders say that the
number of “high-risk”, large-auditorium productions seems to have fallen. It is important
to investigate and track trends in new production forms, not only the repertoire itself, but
also how accessible productions for audiences. After all, not every interpretation of
Chekhov is the same.
• Provocative or pleasing
Het gesprek over de programmering van het podiumkunstenaanbod dient in de eerste It is
the performance venues and the funded and non-funded producers that should be dis­cussing
the issue of programming in the performing arts sector. They are already doing so, for
example during the Provocative or Pleasing [Prikkelen of pleasen] debates at the Balie cultural
centre in Amsterdam and at this year’s VSCD conference. The Performing Arts Fund and the
Ministry of Education, Culture and Science are keeping track of trends in the balance
between supply and demand in the performing arts. It is also important for the national
government and the municipalities to work together on addressing that relationship.
• Higher profile for performing arts
The funded performing arts companies must find new ways to attract audiences. They are
therefore increasingly staging performances outside conventional theatres and concert
halls. Performances that used to be staged mainly at festivals are now being taken “on
location”. More and more theatrical performances are being staged out of doors, in office
buildings or in factories. Opera companies and orchestras are also performing away from
the theatre or concert hall. Operas and concerts are shown live at cinemas, for example,
or on a big screen in a park. Other initiatives are also making the performing arts more
visible. The theatre sector has produced a glossy magazine, Scènes, which is available at
newsstands and bookshops. The TV series Bloed, zweet en snaren [Blood, Sweat and Strings]
gave viewers a behind-the-scenes look at the Royal Concertgebouw Orchestra, while
television programmes such as So You Think You Can Dance and The Ultimate Dance Battle are
making choreographers from the funded circuit into household names. Television is
therefore making it possible for the performing arts to reach a significant audience (see
also Section 3 about culture and the media).
• More commercial productions for youth theatre
Publicly funded youth theatre in the Netherlands still has a good reputation abroad and
can be seen all over the world. In the past few years, a number of publicly funded Dutch
youth theatre companies have staged productions on Broadway. At the same time,
competition is growing within the sector between funded and non-funded productions.
Commercial producers are increasingly putting on crowd-pleasers such as Eftelingtheater,
Kabouter Plop, and MegaMindy. Youth theatre is also shifting away from performing in
conventional theatres to performing at schools or other venues. Last year saw the first
theatre marathon for young people. The Toneelmakerij – a theatre company for children
and teenagers based in Amsterdam – staged Mehmet De Veroveraar [Mehmet the Conqueror] in
a factory with an oriental decor. Performances are also being given in mobile theatres.
• Performance venues
Attendance at the publicly funded performance venues in the G4 remained almost the
same over the past four years, falling slightly from 5.6 million in 2009 to 5.5 million in
2012. The cities of The Hague (+6%) and Rotterdam (+3%) did somewhat better than
average. Amsterdam and Utrecht did somewhat less well (down about 3%). The above
percentages cannot approximate the trend in total attendance figures at a particular city’s
performance venues, but they do offer a picture of attendance at the publicly funded
performance venues.
5.5 State of play in the sectors
This section describes the artistic/cultural and organisational trends in the various arts
disciplines and subsectors and the results achieved by all institutions that received
funding in the context of the Basis National Infrastructure 2009–2012. The results of the
institutions within the Basis National Infrastructure and those receiving funding from the
Performing Arts Fund is summarised in Tables B, C, and D in the Appendix to Section 5.178
5.5.1 Trends in the performing arts
The downward economic trend would appear to be having an impact on the performing
arts, particularly in the commercial segment. Musicals, for example, are attracting smaller
audiences and the number of performances put on at theatres is falling. The role of
publicly funded productions at performance venues is also changing. Companies are
finding it harder to market their performances and concerts because theatres and
performance venues are taking fewer risks. That impression is reinforced by producers’
reports that performance venues are paying smaller buy-out fees than previously179 and
that the number of “share-of-take” arrangements are on the rise.180 There are also signs
from within the sector and the Performing Arts Fund that the performance venues’
programming budgets are under pressure.
The results as shown in Section 4.3.1 are based on data analysis for panels (of institutions) that have remained stable over
time. It is therefore possible that some of the figures in this section do not match up perfectly with the figures shown in
Section 4.3.1. For a more technical explanation of panel data analysis and its advantages, see APE, Kwink, Rebel,
Economische ontwikkelingen in de cultuursector, 2005–2012 (2013).
179
A fee that the performance venue pays the performer for the performance, regardless of the amount of audience-generated
revenue.
180
An arrangement for audience-generated revenue to be shared out between the performance venue and the performer.
178
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5 \ The publicly funded sectors
\ >
• Talent development
Talent development is extremely important for a dynamic sector and for the Netherlands’
international stature. Even more than in the past, the major performing arts companies
have been tasked by the Ministry of Education, Culture and Science with guiding talented
young people. At first glance, the companies within the Basis National Infrastructure
appear to take a range of different approaches to talent development, from intensive
training of a single gifted newcomer to numerous short-term programmes for groups of
talented individuals. The Performing Arts Fund’s project funding scheme is also open to
culture makers (directors, choreographers) who are just starting out on their professional
career. As of this year, they can apply for funding – in any of the performing arts – as a
new culture maker. Of the 37 applications considered for the first round of the New Culture
Makers scheme [Nieuwe Makers], nine were successful. They can get started on their
development programme, which they have set up under the guidance of various
organisations. The successful applicants included various categories of culture makers
with distinct development programmes: both artists’ collectives and individual artists,
some who are at the end of their “start-up phase”, and others who are just starting out
on their professional development. Some focus entirely on the work of actual creation,
while others are also active as actors or dancers. Talent development can thus take many
forms, geared to the aims and ambitions of the new culture maker and with critical and
constructive guidance from professional organisations. The great majority of applications
submitted came from new culture makers in theatre and dance, with applications from
other sectors such as music or music theatre lagging behind for now. It will become clear
during the following round of applications whether organisations in these sectors are
taking advantage of the scheme.
The cultural funds have also joined forces to develop a new programme offering
exceptionally talented people the opportunity to produce new work under the guidance
of an internationally renowned artist or institution. The programme focuses specifically
on experienced talent. In the case of the performing arts, they will be selected by a
committee (with scouts).
The Ministry of Education, Culture and Science and the cultural funds are monitoring how
talented young people are finding their way around the new structure. In doing so, they
are looking at the various stages that a talented individual goes through in his or her
development. The Ministry and the Council for Culture [Raad voor Cultuur] are keeping
track of the trends in this area.
It is a matter of concern that organisation density is declining within the performing arts.
The Dutch Performing Arts Bureau [Bureau Promotie Podiumkunsten] was disbanded on 1
October 2013 because its business model had proved unviable. Many members of the
Netherlands Association of Theatres and Concert Halls (NAPK) – including orchestras,
theatre companies, and dance companies – cancelled their membership with effect from 1
January 2014. They notified the board of the NAPK that they were dissatisfied with the
association. The NAPK is currently investigating whether it can operate as a network that
runs an online platform for communication and knowledge and information sharing
between members.
5.5.2 Results achieved by performing arts institutions within the
Basis National Infrastructure 2009–2012
In the current period, the 21 production centres for the performing arts [productiehuizen]
that were funded under the Basis National Infrastructure 2009–2012 are no longer
receiving any funding from the Ministry of Education, Culture and Science (they previously
received 11 million euros). Of those 21 institutions, 19 are still active. In 2013, six are
receiving multi-year funding for their activities from the Performing Arts Fund (2 million
euros), and 14 are receiving funding (6.1 million euros) from local authorities.
The budget figures of 14 production centres for the performing arts [productiehuizen] have
been published. For those 14, total turnover (actual 2012 results compared to 2013 budget
estimate) will fall from 21.8 million to 18.4 million euros (down 16%). The 14 institutions
expect to increase their revenue by 2.2 million euros.
100
/
• Sector organisations as important discussion partner
The sector organisations are an important discussion partner for the Ministry of
Education, Culture and Science as it develops its policy. In order to promote the interests
of the performing arts sector as effectively as possible, the sector must speak with a
single voice as far as possible. At a time when the relationship between supply and
demand is under pressure, the performance venues (the demand side) and the producers
(the supply side) would do well to coordinate and collaborate more closely.
• Orchestras (10 institutions)
The orchestras set higher targets for the 2009 to 2012 period than they actually succeeded
in achieving. Over those four years, the number of concerts was 4% lower and audience
sizes 11% smaller than projected. The orchestras gave an average of 55% of their concerts
in their home city, which gave them 62% of their total audience. They gave 2% fewer
concerts in their home city than planned, and their audience was 9% smaller there.
Outside their home city, the actual figures deviate somewhat more from the prognosis.
With attendance at somewhat more than 50,000, audience sizes in the home city
remained reasonably constant during the past four years. Elsewhere, the orchestras
experienced a significant decline in audience sizes in 2012. Only some of this decline can
be attributed to the lower number of performances. That number fell in 2012 by 4% and
audience sizes by 15%.
101
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5 \ The publicly funded sectors
\ >
• More concerts for schools, fewer schoolchildren
The orchestras’ plans were highly ambitious but did not lead to an increase in the number
of concerts. The number of performances for schools did rise, however, with an average of
90% more concerts than planned. In absolute numbers, the orchestras gave 310 concerts in
2012. Although they gave more concerts for schools, that does not mean that more children
attended those concerts. The average size of the audience for a school concert fell between
2009 and 2012 from 552 to 330 pupils.
• Opera companies (3 institutions)
The opera companies had better results, on average, than estimated in their plans. The
total number of performances was 9.7% higher than forecast, while audiences were 6%
smaller. An increase in the number of performances did not therefore produce a directly
proportionate increase in the number of operagoers. Between 2009 and 2012, new
productions accounted for some 75% of the total number of productions, with the rest
consisting of revivals. There were 75 new productions in all in the past four years, 12.5%
more than planned. The number of revivals was 4% lower. According to these indicators,
each opera company has done as well or better than the prognosis.
• Differences between opera companies
The number of performances in the opera companies’ home cities accounted for 58% of
the total. The rest took place elsewhere, with 14% being staged abroad. Performances in
the home cities accounted for 77% of the total. Audience numbers for each performance
varied from one company to the next because of their differing sizes. The total number of
attendees per performance fell in 2012 by 1% and the total number of performances by 13%.
• Theatre companies (9 institutions)
The theatre companies staged a considerable number of productions in the most recent
funding period. That number was 30% higher than planned, with the number of performances almost a quarter higher. In total, the nine companies gave almost 2000 performances over the four years. The number of theatregoers was 3.8% higher than targeted.
Audience-generated revenue was notably higher, increasing from 7.3 million euros in 2009
to 10.3 million euros in 2012. Also notable is that audience sizes abroad more than doubled,
from almost 24,000 in 2009 to more than 49,000 in 2012.
• Youth theatre companies (9 institutions)
Between 2009 and 2012, the nine youth theatre companies put on 26.2% more productions
than targeted. The number of performances increased by 19.7% and there were 6.5% more
attendees than estimated. The youth theatre companies focus on school audiences, as can
be seen by the number of performances staged for schools and visits to schools. Between
2009 and 2012, these were virtually the same as the total number of performances and
visits. The trend for commercial productions, on the other hand, was downward, with both
audience numbers and number of performances declining over the past two years. The
number of performances abroad increased, from 81 in 2009 to 126 in 2012. Audiences
abroad more than doubled, from more than 10,000 attendees to almost 25,000. Once
again, there are major differences between the youth theatre companies. If we look, for
example, at the level of funding per attendee, then the difference between the company
with the smallest and the company with the largest amount is about 72 euros per attendee.
102
/
• Dance companies (7 institutions)
The results achieved by the dance companies funded under the Basis National
Infrastructure exceeded the prognoses that had been submitted on a number of different
indicators. The total number of performances was 23.8% higher than had been estimated.
The number of school performances and the number of children attending those
performances was much higher in 2009–2012, namely 121.8% and 34.8%, respectively.
However, the total number of people attending regular performances fell by 9.4% on
average. On balance, fewer people attended both regular and school performances. Each
of the seven dance companies has a unique identity and there are consequently major
differences between them, including in their targets and actual results. With one
exception, all the companies focus on performing in their home city. If we consider the
averages, then we see that the dance companies gave some 30% of their performances in
their home city, where they also attract almost 40% of their total audience.
• Youth dance (4 institutions)
The four youth dance companies staged more productions than they had forecast, gave
more performances, and attracted bigger audiences. The number of productions staged
was 81% higher and the number of performances (both regular and for schools) 117%
higher than planned. The number of attendees was also 42% higher but did not keep pace
with the rise in the number of productions and performances. Unlike other sectors, both
the number of performances and the number of people attending are distributed equally
between the companies’ home city, other regions, and foreign locations. This applies both
to regular and school performances.
• Performing arts festivals (6 institutions)
The six performing arts festivals together had some 1.8 million visitors within the cycle of
regular performances. On average, there were 256 performances each year. The festivals
are difficult to compare because they differ greatly in size, genre, and identity.
Interestingly, the relatively small festivals had more audience-generated revenue in 2012
than in 2011, whereas the two biggest festivals saw such revenue decline. For all the
festivals, overall self-generated revenue increased in 2012 compared to 2009.
• Theatre production centres for the performing arts [productiehuizen] (21 institutions)
Taken as a group, the 21 production centres for the performing arts [productiehuizen]
staged 55% more productions than planned. They gave 23% more performances and
their audience grew by 44%. Strikingly, audience numbers increased in 2012 compared to
2011 but self-generated revenue fell. The number of productions and co-productions
increased. Audience figures abroad fell in the past two years, but the companies gave
more performances abroad than in previous years. Here too, there are differences
between the various production centres for the performing arts [productiehuizen], with
some focusing more on performing abroad than others.
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5 \ The publicly funded sectors
5.5.3 Trends at the museums
Maritime Museum, Museum De Fundatie, and the Friesland Museum – has mitigated the impact
of the austerity measures. Refurbishment projects such as these attract a great deal of
attention and additional visitors, certainly during the first year after reopening. The effects of
the austerity measures will become apparent, however, in the course of the present funding
period. It will then become clear to what extent the museums will need to cut down on their
amenities and activities, and what impact that will have on quality and on public interest.
The Ministry of Education, Culture and Science and the museums themselves will monitor
these trends during the current funding period. The museum sector is making increasing use
of sector-specific information and benchmarking. It can do so thanks to its professionalgrade organisation and the efforts of the two sector organisations, the Dutch Museums
Association (NMV) and the Association of State-funded Museums (VRM). These two organisations have decided to merge with effect from 1 January 2014.
The Netherlands has a large number of museums. They are located all across the country
and range from large to small and from general to specialist. Some are small museums
that survive thanks to the enthusiasm of private parties; others house prestigious
collections of worldwide renown. Forty-nine of these museums are state-funded
institutions; of these, 31 are part of the Basis National Infrastructure and 18 are funded by
other ministries. There is great public interest in the museums and that interest has
remained stable in recent years. Together, they welcome some 20 million visitors a year,
including 4.5 million under the age of 18. In 2012, 900,000 people had a National Museum
Pass [Museumkaart] (more than 100,000 more than in 2011). Of the ten million foreign
tourists who come to the Netherlands each year, 40% visit one or more museums here.
Dutch collections and museums also score high marks internationally with successful
exhibitions abroad.181
• Professional development and collaboration
The Dutch museums make an enormous contribution to knowledge generation, to
historical awareness, and to national identity. In recent years, they have worked both
individually and collectively to demonstrate the importance of museums for Dutch
society. Examples of their efforts include the More Than Worth [Meer dan waard] initiatives182
and the advisory report by the Asscher-Vonk Committee on Museums for Tomorrow [Musea
voor Morgen].183 The museums have become more professional in recent years, both in
business, commercially and in their actual work. One of their priorities was to commit to
education and promote museum visits by children. There has also been more interest in
collaboration between museums. That interest expressed itself in the Asscher-Vonk
Committee’s advisory reports and the follow-up action by the museums themselves. New
partnerships have been set up or expanded (more rapidly), for example the collaboration
between the museums in Amsterdam on marketing. Collaboration with organisations
outside the museums sector is also growing. Examples include the recent partnership
between the Zeeuws Museum (in Middelburg) and the Willem de Kooning Academy;
between the Network of European Museum Organisations (NEMO) and Amsterdam
Airport Schiphol; and the long-term collaboration between the Netherlands Museums
Association (NMV) and the ANWB motoring organisation.
• Future challenges
Despite their dynamic nature and their successes, Dutch museums are facing a number of
challenges. The public budgets available to them are under pressure; at the same time,
the economic crisis has led to a drop in sponsorship. As competition in the leisure market
increases, museums will need to keep developing. Museum visitors will not notice the
decline in their budgets immediately; the long-term nature of museum planning means
that the consequences will only become apparent gradually. For many visitors, the recent
reopening of a considerable number of museums – for example the Netherlands
181
De Museumbrief. Samen werken, samen sterker (10 June 2013).
DSP group, Meer dan waard. De maatschappelijke waarde van Musea (2011).
Advies Commissie Asscher-Vonk, Musea voor Morgen (2012).
182
183
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5.5.4 Results achieved by museums within the Basis National Infrastructure
2009–2012 (30 institutions)
Total turnover of the museums within the Basic and Constructive Culture came to some 310
million euros for 2012. Of that turnover, 71% was made up of public funding and 29% of
self-generated revenue. There are major differences between individual institutions. The Van
Gogh Museum, for example, is able to generate no less than 70% of its total revenue on its
own. There appears to be a slight positive correlation between the size of the turnover and
the proportion of self-generated revenue. This does not mean, however, that there is a causal
connection between the size of the turnover and the museum’s self-generated revenue. All
the state-funded museums had a good year, certainly in terms of visitor numbers, which
increased by 600,000 from 2010 to 2011 and by 200,000 in 2012. Despite the increase in
visitor-generated revenue, the state-funded museums saw a significant drop in their total
self-generated income, amounting in the last year to a decline of 15 million euros.184
Virtually all the state-funded museums achieved better results in 2009–2012 than they had
projected. With public funding amounting to 30 euros per visitor, the sector was one of three with
the lowest per-visitor funding for 2012. That is primarily due to a number of major “crowd-pleasers” such as the Van Gogh Museum and the Netherlands Maritime Museum. Viewed separately,
the state-funded museums display a more diffuse picture. There is a difference of some 80 euros
between the highest and the lowest per-visitor funding.
5.5.5 Trends in the visual arts
The visual arts have raised their profile and become more accessible in recent years. Works
are exhibited in a greater variety of locations and often have a specific character and are
intended for a specific target group. They are displayed not only at contemporary art centres,
artist initiatives, post-graduate institutions, and museums but also at biennales, in public
areas, and at festivals. It is also striking that the number of specialist art fairs has increased,
for example those focusing on photography or drawing, or on specific target groups.
Crowdfunding and online art sales have also increased the public’s involvement in the visual
arts and made it more visible.
The study discussed in Section 4.3.4 comes to a different conclusion. It considered a panel of 23 museums, while here we consider
all 30 state-funded museums.
184
105
\
• Higher profile for young artists
According to many people, the work of young artists is better known now than in the
past. Young artists increasingly take their work out of the studio, operate more commercially, and establish relationships with the business sector and other domains of public
life. In addition to institutions geared specifically to talent development (art academies,
postgraduate institutions), various parties in the sector focus on talented young artists
and recent graduates. More and more galleries and art fairs are displaying the work of
young artists. A number of contemporary art centres work specifically with recent
graduates on designated exhibitions.
• Collaboration on talent development
Art centres continue to play a major role in talent development and museums of
contemporary art are also increasingly engaging in this field. That is a positive trend,
although art centres and contemporary art museums could work more closely with one
another in that regard. Talent development in the contemporary visual arts depends on
promoting, reinforcing and maintaining national and international networks.
• Interest groups speak out
A number of sector organisations and interest groups are active in the visual arts sector.
These range from the Netherlands Museums Association (NMV), the Association of
State-funded Museums (VRM) and the Netherlands Gallery Association (NGA) to the
Professional Association of Visual Artists (BBK), De Zaak Nu, the Professional Association
of Artists (BOK), and the Visual Arts Platform. These organisations have recently been
speaking out more. That is a positive development because they draw attention to what
is happening in the sector – what is going well and what is not. It is important that they
continue to speak out, but they need to clarify the purpose of the various initiatives and
how the organisations relate to one another. It is therefore vital for the sector-specific
organisations and interest groups to be aware of one another and to coordinate their
activities. This will ensure a clear point of contact within the sector and allow them to
speak with one voice.
Van Eyck Mirror
Van Eyck Mirror - Products and Concepts was set up in March 2013 by the Jan van Eyck Academy,
Multiform Institute for Fine Art and Design. It is a project office that connects the talent and
creativity so abundantly available at the Academy with social and economic issues. Brigitte
Bloksma heads Van Eyck Mirror - Products and Concepts and specialises in the social legitimacy
of cultural institutions. Her work involves developing cultural projects and concepts that link
government, the private sector, and cultural institutions.
“Van Eyck Mirror reveals the social and economic significance of culture to the world, the way a
well-polished mirror would do. Art does not exist outside the world; it is part of the world and is
there for the world.
We are constantly in search of interesting partnerships with businesses and civil-society organisations. Those partnerships provide the basis for new cultural projects, concepts and products. What
we want Van Eyck Mirror to do is connect up the talent of our participants, the lab facilities, and
our staff’s professional support with social and economic issues.
One of our first projects involves the Province of Limburg, the social innovation think tank
Kennisland, and Maastricht University. Van Eyck Mirror is joining with the Province of Limburg to
investigate government’s legitimacy today. Modern government must make use of innovative
communication concepts and services. Artists and cultural institutions are the obvious partners
with which to investigate this question. They instinctively search for forms and products that can
tell a story and make social problems visible. One of the aims of Van Eyck Mirror is to connect the
participants’ talent development with the issue of the Jan Van Eyck Academy’s social legitimacy.
The projects and the partners – many of which are unorthodox – lead the Academy’s participants
to new insights. We also want to improve the Jan Van Eyck Academy’s financial position.
Entrepreneurship is a prerequisite for the Academy, but it requires constant dialogue and the right
balance between the artistic side on the one hand and the project office’s entrepreneurial ideas on
the other.”
106
\
5.5.6 Results achieved by visual arts institutions within the Basis National
Infrastructure 2009–2012
In 2009–2012, the self-generated revenue of the eleven contemporary art centres within
the Basis National Infrastructure fell from 1.6 million euros to 1.5 million euros. That fall
cannot be attributed to visitor numbers, which remained approximately the same at
307,000. This trend led to a drop in visitor-generated revenue of 22% per visitor in 2012
compared to 2011. Viewed individually, many institutions achieved results that exceeded
the agreed target. However, those that achieved very good results were the very ones to
experience major drops in visitor numbers between 2011 and 2012, although this did not
mean that they failed to meet their targets. The four postgraduate institutions for visual
arts within the Basis National Infrastructure delivered their core results according to plan.
In total, they supervised 178 participants.
107
\
5 \ The publicly funded sectors
\ >
5.5.7 Trends in the film sector
The study Economic Contribution of the Dutch Film and Audio-Visual Industry190 shows that the
share of Dutch films in the cinema market has increased from just under 14% in 2007 to
about 15.8% in 2012 and 17.4% in the first quarter of 2013. Over the same period, the
number of cinemagoers and the number of films in production also rose.
Dutch films receive a great deal of positive media attention, win prizes, and are selected
for screening at film festivals abroad. In addition to winning national prizes, they also do
well internationally, as was the case, for example, with Kauwboy, Boven is het stil, and
Matterhorn. The Dutch film Wolf by Jim Taihuttu won the Youth Award at the San Sebastian
International Film Festival.185 It was produced by the Habbekrats film company, which also
won the Amsterdam Art Award for 2013.186 The biggest success in 2013 was Alex van
Warmerdam’s film Borgman, the first Dutch film in 38 years to be nominated for the Palme
d’Or at the Cannes Film Festival. Borgman also received the Amsterdam Film Festival’s
2013 Golden Calf Award for Best Film and was selected for the European Film Awards. It is
the Dutch submission for the 86th Academy Awards (the “Oscars”) in the Best Foreign
Language Film category. Borgman has already been sold to more than twenty countries
and is also being released in North America.187
Interest in Dutch films is also increasing in the Netherlands, with 5 million people
watching them in the cinema and 35.4 million on public and commercial television
channels.188 Whereas total cinema visits and box-office receipts rose, there was a sharp
fall in turnover from sales and rentals of DVDs and Blu-ray discs (down 56.4%). Despite a
steep increase in turnover from video on demand and pay per view (up 300%), turnover
was not sufficient, on balance, to compensate for the losses sustained by DVDs and
Blu-ray discs. Expectations are that it will manage to do so within a few years, however.189
The EYE Film Institute’s move to its new home is important for both Amsterdam and the
country as a whole, and has put film even more clearly on the map. The new film
museum, opened on 4 April 2012, attracted an unexpectedly large number of visitors. The
new building also makes it possible to put on large-scale exhibitions.
• Dutch Academy for Film
The Dutch film sector has taken the initiative of setting up an Academy, patterned on
those in the United States, France, the United Kingdom, and other countries. The Dutch
Academy for Film will promote the overarching interests of the whole Dutch film sector.
The Academy will dedicate itself to improving the image of the sector, fostering solidarity,
promoting and recognising talent, organising debate, and awarding annual film prizes.
The membership of the Academy consists entirely of individuals who work to promote
the interests of the sector. The Academy has been set up alongside the existing sectorspecific associations. It therefore creates a clear distinction between overarching,
content-related goals and the direct interests of specific professional groups such as
actors, screenwriters, directors, and producers.
http://www.sansebastianfestival.com/in/#_ (accessed 1 October 2013)
http://www.amsterdamsfondsvoordekunst.nl/wat-wij-doen/amsterdamprijs/amsterdamprijs-2013/ (accessed 1 October
2013)
187
http://www.europeanfilmawards.eu/en_EN/selection/films (accessed 1 October 2013)
188
Film Facts and Figures of The Netherlands, September 2013, Nederlands Filmfonds. p. 38
189
Idem, p. 34–37.
Taken as a whole, the sector creates or supports 65,700 jobs, 3.6 billion euros in gross
value added, and just under 1.6 billion euros in tax. The Dutch film and audio-visual
industry has an “employment multiplier” of 2.036. This means that anyone directly
employed in the sector supports another 1.03 jobs in the wider economy. The study also
indicates a strong positive relationship between the level of state support and the health
of the film and audio-visual industry. According to the film sector, it merits support for
that reason, either directly or indirectly through tax relief or economic measures. The
larger the amount in support per capita, the faster the sector will grow in terms of
employment.
5.5.8 Results achieved by the film festivals within the Basis National Infrastructure
2009–2012 (5 institutions)
The film festivals within the Basis National Infrastructure 2009–2012 achieved better
results than they had estimated. After the peak in 2010, the festivals were consolidated in
2012. In 2012, the five festivals attracted some 750,000 visitors. Audience-generated
revenue remained more or less stable compared to 2011, but self-generated revenue fell
sharply in the final year, by almost 1.3 million euros. 5.5.9 Trends in architecture, design, and new media
A number of policy changes were introduced last year in architecture, design, and new
media. Within the Basis National Infrastructure , support for these disciplines was united
in the Creative Industries Fund NL ). The three sector-specific institutes – the Netherlands
Architecture Institute, Premsela/The Netherlands Institute for Design and Fashion, and
the Virtual Platform for the New Media – have merged to form The New Institute [Het
Nieuwe Instituut]. The institutions for architecture, design, and the new media have been
transferred to the Creative Industries Fund NL (they were previously funded entirely
through the Basis National Infrastructure ). Combining the sectors keys into interdisciplinary trends and crossovers with other sectors. The underlying aim is to reinforce
innovative potential, capitalise on economic and social value added, and maintain the
current strong international position. In 2011, central government started its “top-sector
policy”, whereby the government invests in the nine most promising innovative sectors in
the Netherlands.The creative industries comprise one of these nine top sectors.
185
186
108
/
Oxford Economics, Economic Contribution of the Dutch Film and Audio-Visual Industry (2013).
190
109
\
5 \ The publicly funded sectors
\ >
• Creative industry organising rapidly
Government efforts aimed at boosting the position of the creative industry – nationally
and internationally – have led to rapid changes in the organisation density within its
various sectors. The professional organisations within the industry have joined together
as the Federation of Dutch Creative Industries.
A team of creative industry experts assembled in 2011 is made up of representatives of
the business community, educational and research institutions, and government. There is
also the CLICKNL consortium, a knowledge and innovation network in the creative
industry. The consortium will set out the knowledge and innovation agenda for the
creative industries and promote networking and collaboration on R&D between know­
ledge institutions and the business community. A Dutch Creative Council has also been set
up, comprising creative entrepreneurs and knowledge workers.
• Impact of economic crisis on architecture
The economic crisis has made itself felt in the architecture sector and the building
industry. There has been a major shakeout, with the number of architecture firms down by
almost half (see also Section 4.3.1). New buildings and extensions are almost a thing of the
past. Redevelopment/rezoning, urban infill, reuse, and transformation are the new
challenges with which the sector hopes to turn the tide. Niche markets focusing on specific
social issues and user groups have come into view. Examples include the rise of private
commissioning practices and partnerships with parties in other domains of society.
The position of the architect within the building process is changing and cooperation and
co-creation offer new opportunities for architect-entrepreneurs. Municipalities are keying
into this new trend bit by bit by issuing land for buildings constructed in response to
private commissions and by making changes in the applicable regulations.
• Five architecture programmes
The Ministry of Education, Culture and Science and the Ministry of Infrastructure and the
Environment have transferred responsibility for five architecture programmes to the
Creative Industries Fund NL under the joint Action Agenda for Architecture and Spatial Planning
[Actieagenda Architectuur en Ruimtelijk Ontwerp]. These programmes key into the new
building challenges in the Netherlands.191 They are intended to promote architecture in
the domains of healthcare and education, the transformation of towns and regions, and
new commissioning practices. The Creative Industries Fund NL is issuing open calls for
contributions that will deepen the sector’s knowledge within these domains.
191
• Focus on other countries
The design sectors now focus more on other countries than in the past, in part owing to
the economic downturn in the Netherlands, but also because there are options for
expansion in emerging markets elsewhere in the world. The new internationalisation
programme will support the sector in this regard. The programme is a new version of the
Dutch Design, Fashion & Architecture programme (2009–2012) (see also Section 4.2.3).
• Design and new media
The design sector is also coping with an economic downturn, and, like other sectors, is
turning to new user groups and social issues. It is also growing more interested in
recycling, new materials, innovation in traditional crafts, and cross-sector connections.
The new media now permeate all segments of society and all design disciplines, and the
importance of media in other sectors is increasing. One good example is how serious
gaming is now being used in education and healthcare. The Creative Industries Fund NL
promotes these trends – as “e-culture” – on a project basis and at institutional level. The
focus is on social issues, tailoring new media for use in other sectors, and interacting with
specific groups of users.
5.5.10 Results achieved by architecture, design, and new media
Within the Basis National Infrastructure , the creative industry breaks down into three
disciplines, namely architecture, design, and new media. Self-generated revenue in all
three disciplines fell in the 2009–2012 period. In 2012, the institutions involved generated
approx. 52% of their self-generated revenue in 2009. Total funding for these institutions
declined by much less, namely 9%. Despite the fall in self-generated revenue, the total
number of visits in the same period increased from 213,000 to 422,000. Average selfgenerated revenue and visitor-generated income per visitor fell over the four years by
74% and 71%, respectively.
5.5.11 Trends in the literary world and at libraries
As from the start of the new funding period, the Basis National Infrastructure has four
national institutions in the area of literature and libraries. They promote reading, organise
readings by authors, develop special journalism projects, and support libraries.
The organisation that supports libraries – the Public Library Sector Institute (SIOB) – will
receive funding as part of the Basis National Infrastructure until the new Libraries Act
comes into force on 1 January 2015. The purpose of that legislation is to create a single
network of library organisations, both physical and digital, with the National Library (KB)
taking on the central role. The tasks of the SIOB will be transferred to the National Library.
Actieagenda Architectuur en Ruimtelijk Ontwerp 2013-2016. Werken aan Ontwerpkracht.
110
/
111
\
5 \ The publicly funded sectors
\ >
• Promoting reading and literary festivals
In terms of reading promotion, the SIOB and the Reading Foundation [Stichting Lezen]
have begun collaborating more closely with two other national organisations that aim to
promote reading, the Foundation for Collective Promotion of Dutch Books (CPNB)192 and
the Reading & Writing Foundation [Stichting Lezen & Schrijven].193 Since 2012, these two
organisations have formed the Reading Coalition [De Leescoalitie]. As of this year, literary
festivals no longer form part of the Basis National Infrastructure , but they have still been
able to submit a funding application to the Dutch Foundation for Literature (NLF). Five
literary festivals have been granted multi-year funding for their activities, as have two
organisations in the field of literature and education. The Dutch Foundation for Literature
is also very interested in translation policy, promotion of literature abroad, and digital
innovation. Literary periodicals now only receive funding if they are in digital form.
• Shrinking books market
Literature is part of the Dutch books market. One important means of ensuring variety
and the wide availability of books is the fixed book price.194 Since 2009, the books market
has been shrinking, both in terms of number of books sold and turnover (see also Section
4.3.1). The number of bookshops – a relevant factor for wide availability of books – has
also fallen. In 2007, the Netherlands had 1780 brick-and-mortar bookshops; in 2012, the
figure was 1660 (down 7%). The market share of e-books is slowly increasing, accounting
for 2% of total turnover in the books market in 2012. Section 3.3.6 already noted that the
number of people who sometimes read an e-book has increased more sharply than the
total market share (31% of the population aged 13 and over).
A similar pattern is apparent for public libraries. The trend over a period of ten years is
downward, with declining numbers of books being lent, shrinking collections, and smaller
numbers of subscribers.
<\
http://www.cpnb.nl/
http://www.lezenenschrijven.nl/
194
The fixed book price is to be reassessed in late 2013/early 2014.
192
193
112
/
113
\
Hoofdstuktitel hier
APPENDIX
114
/
115
\
Appendix
Classification of
culture sector /
The culture-sector figures presented in Section 4 are based on data covering the following
categories of Statistics Netherlands’ Standard Industrial Classification system [Standaard
Bedrijfsindeling, SBI] (2008).
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Tourist information and reservation services
.................................................................................................................................................
Practising performing arts
.................................................................................................................................................
Producers of performing arts
.................................................................................................................................................
Support activities to performing arts
.................................................................................................................................................
Writing and other artistic creation
.................................................................................................................................................
Theatres and event halls
.................................................................................................................................................
Public libraries
.................................................................................................................................................
Lending of works of art
.................................................................................................................................................
Lending of other cultural goods and public archives
.................................................................................................................................................
Museums
.................................................................................................................................................
Art galleries and exhibition space
.................................................................................................................................................
Preservation of historical buildings
.................................................................................................................................................
Circles of friends in the field of culture
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Arts /
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Media & entertainment / Shops selling books
....................................................................................................................
Shops selling music and video recordings
....................................................................................................................
Book publishing
....................................................................................................................
Publishing of newspapers
....................................................................................................................
Publishing of journals and magazines
....................................................................................................................
Other publishing (no software)
....................................................................................................................
Publishing of computer games
....................................................................................................................
Other software publishing
....................................................................................................................
Motion picture production (not for television)
....................................................................................................................
Television programme production
....................................................................................................................
Support activities to motion picture and television programme production
....................................................................................................................
Distribution of motion pictures and television programmes
....................................................................................................................
Cinemas
....................................................................................................................
Sound recording and music publishing
....................................................................................................................
Radio broadcasting
....................................................................................................................
Television broadcasting
....................................................................................................................
News agencies
....................................................................................................................
Other information service activities
....................................................................................................................
Photography
....................................................................................................................
Circus and music hall
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Creative business services /Public relations
............................................................................................................
Architects
............................................................................................................
Advertising agencies
............................................................................................................
Industrial design
............................................................................................................
Organisation of conventions and trade shows
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
116
/
117
\
Appendix
Appendix to Section 5 /
Table A – Trend in net expenditure by 35 largest municipalities and 12 provinces, 2011-2013,
total and by discipline1
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
total G35*
G35*
G9
G35* provinces
and provinces excl. G9 ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------1. performing arts (incl. art cinemas)
-8%
-4%
-3%
-6%
-42%
...........................................................................................................................................................................
2. festivals
-11%
-10%
3%
-38%
-16%
...........................................................................................................................................................................
3. visual arts
-12%
-5%
-17%
20%
-35%
...........................................................................................................................................................................
4. cultural education and amateur arts
-9%
-1%
0%
-2%
-33%
...........................................................................................................................................................................
5. libraries and literature sector
-4%
-1%
-3%
0%
-14%
...........................................................................................................................................................................
6. museums
-9%
-4%
-3%
-5%
-26%
...........................................................................................................................................................................
7. historical archives
8%
1%
0%
3%
68%
...........................................................................................................................................................................
8. heritage sites and archaeology
-16%
0%
-10%
8%
-20%
...........................................................................................................................................................................
9. other
-28%
-24% -21%
-33%
-32%
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------TOTAL trend in %
-9% -4%-4% -3% -23%
...........................................................................................................................................................................
TOTAL budget in 2013 (in millions of euros)
1.249
954
571
383
295
...........................................................................................................................................................................
TOTAL trend (in millions of euros)
-125
-36
-23
-13
-89
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------notes: * Exclusive 4 municipalities.
1
118
/
Overview of results of institutions making up the Basis
National Infrastructure 2009–2012 and institutions funded
by the Performing Arts Fund and Cultural Participation Fund
Table B – Number of performances/concerts/exhibitions by institutions within the Basis
National Infrastructure 2009–2012
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
performances
performances for schools
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
average
indexed vis-à-vis 2009
2009-201220102011 2012
average
indexed vis-à-vis 2009
2009-2012201020112012
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Symphony orchestras
780101104 102
234 87174200
...........................................................................................................................................................................
Opera *
23991 93 82
- -
- -
...........................................................................................................................................................................
Dance
1.070110110 97
759,5126161202
...........................................................................................................................................................................
Youth dance
311103 93
78
708,75 129 161 204
...........................................................................................................................................................................
Theatre
1.980 93100 92
790,5112138127
...........................................................................................................................................................................
Youth theatre
1.095131124 108
1.168,5 89115126
...........................................................................................................................................................................
Museums
--- -
----
...........................................................................................................................................................................
Art centres
11478 97 90
- -
- -
...........................................................................................................................................................................
Music and theatre festivals
1.120 96123 125
- -
-
-
...........................................................................................................................................................................
Film festivals
3.074184 281 292
-
-
-
-
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------* For opera, performances for schools not included
Cebeon, Uitgaven cultuur door de G35 en de provincies 2011 - 2013 (2013).
119
\
Appendix
Table C – Overview of visits/attendance and visitor/audience-generated revenue by
institutions within the Basis National Infrastructure 2009–2012
Table D – Overview of performances/concerts/exhibitions by institutions within the Basis
National Infrastructure 2009–2012
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------regular visits/attendance vs.
school visits/attendance
visitor/audience-generated revenue
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
average
indexed vis-à-vis 2009average
indexed vis-à-vis 2009
2009-2012 2010 20112012 2009-2012 201020112012
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Symphony orchestras
regular
821.686
100
103
95
€ 22.308.962
101
104
92
.................................................................................................................................................
school
78.379
96
regular
198.753
94
105116
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Opera*
84
88
€ 10.195.057
96
89
94
.................................................................................................................................................
school
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Dance
regular
401.636
106
121
114
€ 8.139.204
109
107
113
.................................................................................................................................................
school
85.166
83
103
106
regular
36.121
114
102
113
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Youth dance
€ 811.114
104
98
95
.................................................................................................................................................
school
68.894
83
96
101
regular
455.309
83
108
109
€ 8.451.775
89
132
140
.................................................................................................................................................
school
32.273
157
143
159
regular
133.139
139
121
110
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Youth theatre
€ 2.083.287
137
149
134
.................................................................................................................................................
school
117.946
89
121
116
regular
5.802.036
100
111
114
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Museums**
€ 56.401.810
102
120
135
.................................................................................................................................................
school
427.078
103
106
108
regular
259.150
105
151
149
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Art centres
€ 438.246
81
114
87
.................................................................................................................................................
school
8.351
96
122
118
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Music and regular
362.783 186 209 190 € 3.273.140
92 108 109
theatre festivals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
school
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Film festivals
regular
684.326
116
169
193
€ 5.482.665
110
114
112
.................................................................................................................................................
school
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------* For opera, performances for schools not included.
** The Mauritshuis exhibition in Japan is not included in this calculation.
Performance
Performance for schools
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
averageindexed vis-à-vis 2009average
indexed vis-à-vis 2009
2009-2012 2010 20112012 2009-2012 201020112012
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------780 101 104102
Symphony orchestras
234 87 174200
...........................................................................................................................................................................
239 91 93 82
Opera*
-
-
-
-
...........................................................................................................................................................................
1.070110 110 97
Dance
759,5126 161202
...........................................................................................................................................................................
311103 93 78
Youth dance
708,75129 161204
...........................................................................................................................................................................
1.980 93100 92
Theatre
790,5112138127
...........................................................................................................................................................................
1.095 131 124108
Youth theatre
1.168,5 89 115126
...........................................................................................................................................................................
- - --
Museums
- - --
...........................................................................................................................................................................
114 78 97 90
Art centres
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Theatre
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
-
-
-
-
...........................................................................................................................................................................
1.120 96 123 125
Music and theatre festivals
-
-
-
-
...........................................................................................................................................................................
3.074 184 281 292
Film festivals
-
-
-
-
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------* For opera, performances for schools not included
Table E – Overview of attendance and audience-generated revenue of institutions receiving
multi-year funding from the Performing Arts Fund (FPK) and Cultural Participation Fund
(FCP) 2009–2012
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
no. of performances/ attendance
audience-generated revenue
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
average indexed vis-à-vis 2009 2009-2012 2010 20112012
average indexed vis-à-vis 2009
2009-2012 201020112012
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------FPK Dance
performance
902 88 108 99
€ 2.483.898 113 111 127
.................................................................................................................................................
attendance
208.242 78 101 111 performance
4.068 93 106 107 ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------FPK Muziek
€ 10.676.985 93 101 87
.................................................................................................................................................
attendance
1.205.762 92 105 119 ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------FPK Theater
performance
4.885 103 98 107 €6.501.262 118
104 141
.................................................................................................................................................
attendance
597.299 101 performance
-
-
94 119 ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------FCP*
-
- € 3.368.888 96 101 106
.................................................................................................................................................
attendance
509.926 106 82 115 ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------* excluding the World Music Contest Foundation [Stichting Wereld Muziek Concours]
120
/
121
\
Appendix
Table 5. A Institutions within the Basic Infrastructure that achieved or failed to achieve
targets, 2009–2012
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Total
Performances for schools
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
productions performances attendance number
attendance
or visits
Bibliography /
or visits
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Performing arts
...........................................................................................................................................................................
• Dance
+73 (4–1)
+24 (1-1)
- 9 (1-4)
+122 (2-3)
+34 (3-2)
...........................................................................................................................................................................
• Youth dance
+81 (4-0)
+103 (4-0)
+99 (4-0)
+123 (3-1)
+25 (2-1)
...........................................................................................................................................................................
• Theatre
+31 (4-3)
+23 (6-2)
+ 4 (2-3)
- 44 (1-4)
A/
• Abbing, H., Why are Artists Poor. The Exceptional Economy of the Arts. Amsterdam (2002).
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B/
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-37 (2-4)
...........................................................................................................................................................................
• Youth theatre
+31 (9-1)
+19 (6-1)
+ 7 (4-3)
+ 38 (7-3)
+33 (7-1)
...........................................................................................................................................................................
• Orchestras/Music
n/a
-4 (2-3)
- 11 (1-4)
+ 95 (6-3)
+47 (5-3)
...........................................................................................................................................................................
• Opera
n/a
+15 (1-2)
- 7 (1,3)
- 45 (0-2)
+40 (1-0)
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Visual arts /
art centres
n/a
+52 (5-4)
+ 26 (7-3)
n/a
+19 (5-4)
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Museums
n/a
n/a
+ 24 (16-4)
+ 31 (15-7)
+31 (15-7)
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Festivals (performing arts),
competitions & biennials
n/a
-7 ( 2-2)
+61 (2-1) n/an/a
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Film
n/a
0 (0-2)
+ 4 (2-2) n/an/a
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Average by sector (targets set at 100). The figures in parentheses indicate the number of institutions that achieved more than 5% above
or below target respectively (in red).* This list is not exhaustive; some small categories have been omitted.
122
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123
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Appendix
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Appendix
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129
\
Publication information
• This booklet is published by
The Ministry of Education, Culture and Science of the Netherlands
• Text
Director-General of Culture and Media
• Translation
Balance2, Amsterdam
• Design and lay-out
STROES.INFO
• Photography:
p.12, 19 / Freekje Groenemans for Archipel healthcare organisation
p.15 / Dendermonde Heuvelink
p.17 / Rinie Boon
p.23
/ Museum Rotterdam
p.29 / Remke Spijkers
p.34 / Passie In Beeld | Jelle Ijntema
p.56 / Arie de Leeuw
p.64 / Ella Tilgenkamp
p.84 / David Jablonowski - Prosumer. De Ateliers Debut Series supported
by Outset Netherlands, Municipal Museum of The Hague,
gallery overview, 2013. Foto: Gerrit Schreurs.
p.106 / van Eyck Academie
• Printed by
Zalsman B.V., Zwolle
March 2014
Every care has been exercised in compiling the contents of this publication. It contains data collected
from the Netherlands’ major cities, the state cultural funds and the Ministry of Education, Culture
and Science. The figures are indicative. The Ministry cannot be held liable for errors or omissions, nor
does this publication bestow any rights.
130
/
Published by:
The Ministry of Education, Culture and Science
PO Box 16375
NL-2500 BJ The Hague
© Rijksoverheid March 2014

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