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Section 1 The value of culture for society; management summary 7 4.3 Economic trends and entrepreneurship 68 1.1 Introduction 7 4.3.1 The effects of the economic crisis 68 1.2 Current trends 7 4.4 Employment 74 1.3 Consequences for the publicly funded cultural sector: initial impression 9 4.4.1 Size of the sector 74 1.4 Tracking trends 11 4.4.2 Match between education and labour market 77 4.5 Philanthropy 80 Section 2 The value of culture 13 4.5.1 Trends in donations to the arts and culture 80 2.1 Introduction 13 4.5.2 Donation campaign 85 2.2 Culture in the care sector 14 2.3 The living environment 20 Section 5 The publicly funded sectors 87 2.3.1 Transformation 20 5.1 Introduction 87 2.3.2 Municipal policy 21 5.2 Trend in expenditure on the cultural sector by the “G35” 2.4 Research and evidence 21 municipalities and the provinces 87 2.4.1 Survey knowledge 22 5.3 Trends in the publicly funded cultural sector 88 5.4 Results in the publicly funded cultural sector 91 Section 3 Cultural education and participation in cultural life 25 5.5 State of play in the sectors 98 3.1 Introduction 25 5.5.1 Trends in the performing arts 98 3.2 Cultural education at school 25 5.5.2 Results achieved by performing arts institutions within the 3.2.1 The importance of cultural education 25 Basis National Infrastructure 2009–2012 101 3.2.2 Cultural education at school 27 5.5.3 Trends at the museums 104 3.2.2.1 Music education at primary school 30 5.5.4 Results achieved by museums within the Basis National 3.2.2.2 The Dutch Canon ofHistory at primary schools 30 Infrastructure 2009–2012 (30 institutions) 105 3.2.2.3 Culture credit card 32 5.5.5 Trends in the visual arts 105 3.2.2.4 Promoting reading 32 5.5.6 Results achieved by visual arts institutions within the 3.2.2.5 Primary school managers 35 Basis National Infrastructure 2009–2012 107 3.3 Receptive participation in cultural life 35 5.5.7 Trends in the film sector 108 3.3.1 Trends in participation in cultural life 35 5.5.8 PResults achieved by the film festivals within the 3.3.2 Potential reach and experience of the arts 38 Basis National Infrastructure 2009–2012 (5 institutions) 109 3.3.3 Participation in cultural life via audiovisual media and the Internet 41 5.5.9 Trends in architecture, design, and new media 109 3.3.4 Culture on television (public broadcasting) 44 5.5.10 Results achieved by architecture, design, and new media 111 3.3.5 Internet and social media 46 5.5.11 Trends in the literary world and at libraries 111 3.3.6 Reading e-books 48 3.4 Amateur Arts 48 / Appendix 115 3.5 Voluntary work 52 • Classification of culture sector 116 • Appendix to Section 5 118 Section 4 The economic value of culture 57 4.1 Introduction 57 / Publication information 130 4.2 Key economic figures 57 4.2.1 Contributions to the economy 57 4.2.2 The broader economic impact of the cultural sector 58 4.2.2.1 The importance of culture for cities, and regions 58 4.2.2.2 Tourism 59 4.2.2.3 European Capital of Culture and city marketing 60 4.2.3 Exports and internationalisation 61

4 / 5 \ 1 The value of culture for society; Culture at a Glance management summary

2013 1.1 Introduction

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.

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 behind- the-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 Turnover of “general books” (novels, non-fiction) fell in 2012 by 6.3% compared to 2011. cultural export products, accounting for 100 million euros in 2011. Almost 70% of that This includes turnover from sales (1.2 million copies) of e-books, the market share of amount was generated by dance music. The literary sector has also been successfully which has risen from 1.2% in 2011 to 2.2% in 2012. Book sales did not decline as sharply as engaged in international cooperation and export for a considerable time; since 1991, for turnover in other sectors of the entertainment and leisure industry, however (CDs, DVDs, example, the number of translations of Dutch works has tripled. games).

• Greater attention to collaboration with other sectors; more knowledge necessary • Donations to culture also under pressure Collaboration between the cultural sector and other sectors is the focus of a great deal of The economic crisis made itself apparent in the philanthropic sector in 2011. The overall interest. One good example is the collaboration between the culture and healthcare decline is also clear in donations to the arts and culture, with a 50% drop in gifts com- sectors. Displaying works of art in hospitals can make the patient’s stay more pleasant. pared to 2009. In that year, donations to the arts and culture totalled 545 million euros; The creative industry is developing all kinds of technical innovations, for example “care by 2011, that figure had fallen to 287 million euros. Businesses, in particular, are donating robots” or simulation games to educate and train staff to carry out examinations and less. Lottery money and legacies increased between 2009 and 2011, and revenue from operations. Culture also plays a role in the physical environment, for example by crowdfunding also rose. (These figures concern 2011. The Gift and Inheritance Tax Act transforming obsolete buildings and by improving the quality of life of neighbourhoods. [Geefwet] only came into force in 2012, meaning that its effects are not apparent in these But providing scientific evidence for the social effects of culture is a difficult matter and figures). 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 1.3 Consequences for the publicly funded cultural sector: cultural life. It is in the top three for theatre attendance, reading (books), and visits to initial impression 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 • Budget and numbers of institutions example orchestral concerts and opera. On the other hand, attendance at cinemas State financing of the Basis National Infrastructure and the national public cultural funds (including “art cinemas”) and state-funded museums have increased. The reopening of a has been cut from 530 million euros in 2009–2012 to 458 million euros in 2013–2016. Net number of famous museums attracted large numbers of people, including visitors from funding by local government (the biggest 35 municipalities) and regional government (the abroad. 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 Many Dutch people are actively involved in the arts in their spare time, although the the municipalities least (down 4%). 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 The state budget for institutions receiving multi-year funding fell by an average of 19%. increased somewhat since 1995, to some 48% of the population. The Monitor Amateurkunst The number of institutions making up the Basic Infrastructure decreased from 172 in 2012 [Amateur Arts Monitor] for 2013 shows a fall from 52% in 2009 to 41% in 2013. 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 • Cultural sector under pressure from economic trends: commercial market hardest hit national public cultural funds are now financing fewer institutions than in the preceding The cultural sector is shrinking at a faster rate than the economy as a whole, with the funding period. The Performing Arts Fund (FPK), for example, is providing 81 institutions sharpest decline being in the commercial segment of the sector. The creative industry has with multi-year funding from 2013; in 2009–2012 the figure was 118. 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 In the case of the “G9” cities (Amsterdam, Arnhem, Eindhoven, Enschede, Groningen, The first quarter of 2012 was more than 20% down on the corresponding quarter in 2011. Hague, Maastricht, Rotterdam, and Utrecht), the budget for the institutions that they Commercial (non-funded) producers in the performing arts are also feeling the impact of fund fell less sharply from 2012 to 2013 than was the case with state funding (an average the recession. Despite an 8.7% reduction in commercial ticket prices between 2008 and of approx. 11%). With a slight drop from 810 to 802, the number of funded institutions 2012, there was a major fall in attendance. remained more or less the same. The institutions are therefore receiving less funding on average.

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\ > • Talent development Institutions making up the Basis National Infrastructure are in most cases able to put on Where talent development is concerned, there have been a great many changes. In the the planned productions and performances; a considerable number are even producing current funding period, the 21 production centres for the performing arts [productiehui- and performing more. Despite this generally favourable picture, there are institutions in zen] that were funded in the framework of the Basis National Infrastructure are no longer virtually all sectors that are unable to stage the agreed number of performances, and receiving any state funding. Of those 21 institutions, 19 are still active. Six received there are more such institutions than in the preceding funding period. If we also consider multi-year funding for their activities in 2013 from the Performing Arts Fund, while 14 audience and visitor numbers, the picture becomes even more diverse. In the period from received funding from local authorities. The total available budget fell by 16%. New talent 2009 to 2012, for example, attendance at orchestral concerts fell by 5% and at opera development measures have been introduced and the Ministry is keeping close track of performances by 9%. Putting on large numbers of performances has enabled the big them. 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 • Performance of institutions within the Basis National Infrastructure : differences between sectors 2009–2012 funding period. 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 1.4 Tracking trends 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 The Ministry of Education, Culture and Science will keep close track of trends in the institutions. In 2012, institutions making up the Basis National Infrastructure had, on cultural sector over the coming years. For this edition of Culture at a Glance, the Ministry average, a lower percentage of self-generated revenue than those funded by the has therefore collaborated more closely than in the past with the major cities, sector Performing Arts Fund or the “G4” cities (Amsterdam, The Hague, Rotterdam, and organisations and public cultural funds. This has led to a publication that enables the Utrecht). This does not apply to all disciplines: institutions in the field of dance, pop/jazz/ Ministry and other parties to formulate and revise policy based on reliable data. That data world music, museums of cultural heritage and art museums achieved the same percent- also gives cultural institutions a good basis for emulating groups of fellow institutions in age of self-generated revenue as those funded by the Performing Arts Fund or the “G9” the near future. The Ministry therefore plans to continue collaborating with the various cities, or indeed surpassed them in this regard. Ethnology and natural history museums, parties in this respect and to build on that collaboration going forward. theatre companies, and the creative industry are lagging behind.

10 / 11 \ < \ 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-rang- ing 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 confront- ed 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 contribu- tion 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

1 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 The BETER Consortium (beter = better), a partnership between artists, care providers invited people to inspect them and think about them. The survey showed that people felt and researchers, investigated the impact of art and “art placebos” on health. Martijn happier with art around them. In fact, they kept coming back. It was almost like a commu- Engelbregt2 headed the consortium. nity centre. The hospital became a place where people received attention and where they could chat too. “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 It was nice that the hospital was so enthusiastic about it. That opened a lot of doors. But it’s attention and energy go into fighting the illness, then all I’m doing is battling myself. When I quite another thing for a hospital to make the first move and pro-actively approach artists. started paying attention to my health instead, I was able to relax and immediately started Personally, I think it’s important not to sit around and wait for a commission. Artists can feeling better too. I believe that we need to de-stress for our health, and that art can help us take the initiative themselves. If we think that things can be done differently, then we do that. I think our BETER Consortium is the first step in a movement that can spread shouldn’t just wait around until others see the light too.” throughout the healthcare system.

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?

3 Haaglanden Medical Centre. 2 Interview with Martijn Engelbregt, director of the BETER Consortium, 18 July 2013.

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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 Last Christmas, Jeeves – a commercial provider of business, hospital, and senior care and when the violinists were done, she exclaimed ‘Wonderful!’ It was moving for both the services – gave eight of its institutional clients, all hospitals, a unique gift to thank them patients and the musicians. It takes the patients away from the world of the hospital for a for their custom: it brought in musicians from the Rotterdam Philharmonic Orchestra for little while.” 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 First violinist Cor van der Linden of the Rotterdam Philharmonic Orchestra reflects on patients and helped transport them temporarily to a more pleasant place. his experience. 5

Vico de Graaf (hospitality coordinator at the hospital) and Frank van den Elsen (hospital “It was fantastic! We played duets on the wards. I volunteered because it was such a Communications Adviser and Press Spokesperson) talk about the bedside concert wonderful initiative. We rehearsed a variety of short compositions in advance and played series. 4 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. “The hospital does a lot with music. For example, we had a children’s choir perform in the I couldn’t have chosen better: it had been her deceased husband’s favourite song. She foyer and a popular TV show about classical music filmed here. People really enjoy this was deeply affected. 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. The Rotterdam Philharmonic Orchestra is passionate about innovation. I think we excel at People got emotional. I saw quite a few handkerchiefs dabbing eyes. The music brings it. We have developed all sorts of activities to reach out to people, and increasingly we’re back memories and stirs up emotions. taking the music directly to them.

We asked the patients ahead of time whether they minded having a bedside concert. This experience has inspired me to play at the nursing home where my parents live in my Those who didn’t mind agreed to leave their doors open, and those who did mind agreed spare time. It gives me and the people I play for enormous joy!” to close theirs. Most of the doors were left open.

4 Interview with Vico de Graaf and Frank van den Elsen, 23 July 2013. 5 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 internation- ally 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 dimen- sions of that lifestyle, and in an atmosphere within which people can recognise, commu- nicate 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 More and more people are finding themselves dealing, either directly or indirectly, convince people of the importance of the programme. After all, it doesn’t really fit in with with Alzheimer’s disease or another form of dementia. Since April 2013, the Van Abbe mainstream ideas of what a museum is supposed to do. Archipel published a front-page Museum in Eindhoven and the Stedelijk Museum in Amsterdam have collaborated on article about the tours in its magazine. That tells me that it has confidence in the a special programme for Alzheimer sufferers and their carers. Known as programme, but also that the programme satisfies many people’s needs.” “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 Daniel Neugebauer, Head of Marketing, Mediation and Fundraising at the Van Abbe opportunity to express themselves and enter into dialogue with those around them. Museum and one of the initiators of “Unforgettable Van Abbe”, had this to say.

Director Charles Esche6 talks about the programme and what the Van Abbe Museum “The main idea behind the programme is that everyone should be able to visit the hopes to achieve. 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 “The ‘Unforgettable Van Abbe’ programme is entirely in line with our belief that museums for both of them to have a pleasant and relaxed day together. 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 We see that art stimulates people, reminds them of the past, or simply opens the door to Mondays at the moment, when we’re closed to other visitors. That gives the participants their imagination. One man began to sing songs he knew growing up while he was the time and quiet they need to look at the artworks. Eventually, I’d like to integrate the looking at a work of art. There isn’t enough empirical evidence yet to say precisely how tours more by organising them during normal opening hours. A visitor who enters the art affects Alzheimer’s. Research on a similar programme at the MoMA in New York museum to enjoy art and encounters a group of Alzheimer patients will experience the shows that people are in a better mood after a tour, but we don’t really know what museum differently too. And the Alzheimer sufferers will feel like they are an important happens in the brain. We have to take things a step further and start talking to artists and part of society. universities about carrying out research.”

6 Double interview with Charles Esche and Daniel Neugebauer, 25 July 2013. 7 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 2.3.2 Municipal policy of patients and carers. They indicate that culture helps create a pleasant atmosphere and Many Dutch municipalities utilise culture as a means of improving urban areas. The has a beneficial effect on the condition of patients. Moreover, research increasingly shows national government has encouraged this in recent years, for example by means of the that culture has a positive impact on well-being, healing, and recovery. The research Cultural Incentive for Urban Renewal and the Rezoning and Redevelopment Incentive for literature is still too limited, however, and also does not present any clear overall picture. the “priority neighbourhoods” [krachtwijken]. Municipalities utilise culture in various It is not yet possible to draw any robust conclusions regarding the long-term effects of different ways, for example events; the maintenance, repair and conversion of distinctive culture on well-being and health, whether preventive or curative. Actually demonstrating buildings; better design of buildings and public areas; temporary or permanent accom- effects will require more longitudinal and experimental studies. modation 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 neighbour- hood and area development, for example studies and publications by ABF Cultuur (2007), the Netherlands Bureau for Economic Policy Analysis (CPB) (2010), and the Cultuurimpuls 2.3 The living environment 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 also plays a role in more physical social issues, for example how we deal with the Culture plays an important role in propelling urban renewal. The presence of culture in living environment. Cultural events and accommodation for artists are tried and tested the form of historic buildings and iconic architecture, amenities, and activities makes an tools in urban and regional development. In many municipalities, policies geared towards important contribution to a neighbourhood’s quality of life. Culture also creates value, for creating neighbourhoods with a good quality of life concentrate not only on the factors example as evidenced by the positive effect of historic buildings on property prices in “clean, sound and safe” and the neighbourhood economy, but also on improving the their immediate vicinity. Section 4 looks more closely at the role of culture in value cultural climate. This applies in particular to neighbourhoods that are redeveloped in the creation. 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

More and more artists also want to tackle environmental issues. Artists, writers, archi- Providing scientific evidence for the impact of culture on society is a difficult matter. It is tects, and designers can ignite a process of change with their different ways of seeing, often difficult for researchers to demonstrate not only a positive correlation but also a thinking, and imagining. An example of this is the “smart highway” project by Studio causal connection, and to link the budgets and measures deployed directly to the results. Roosegaarde, which works with the Heijmans construction firm to develop new Much research is still in its infancy, for example concerning the significance of culture for approaches to lighting motorways. creative development. Demonstrating the social effects of culture demands a better knowledge base, and that, in turn, requires further advances in research and research 2.3.1 Transformation methodology. In her cultural policy memorandum, the Minister makes clear that she Cultural activities act as a catalyst in transforming obsolete buildings and districts so that attaches great importance to increased cohesion between cultural, social, and scientific they can be used in a new and contemporary way. Artists often feel attracted to deserted, trends. She therefore wishes to improve the relationship between science and culture, for rundown locations that offer them an affordable place to live and work, often with its example by means of a programme to be set up within the Academy of Arts, initiated by own unique character. Once these places are “discovered” and their image improves, the Royal Netherlands Academy of Arts and Sciences (KNAW). 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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2.4.1 Survey knowledge ended up staying. It’s a city with an ever-expanding port that was destroyed and rebuilt in In anticipation of this, the cultural sector can already systematically collect knowledge the twentieth century and therefore looks and is very modern. It has a lot of space for regarding the social impact of culture. Although its “evidence-based” compass still has newcomers, and it offers them a lot of opportunities. As Rotterdam’s municipal museum, limited functionality, it can chart the relationships between culture and other sectors we realise that our mission is to document not only the past but also history as it is based on “evidence-informed” models and best practices. Some examples include the unfolding right now. We took that idea into the neighbourhoods. It’s very important to What Works in the Neighbourhood [Wat werkt in de wijk] project database and the Community explore and preserve this history together with the Rotterdammers. We don’t go in there of Practice Cultural Incentive. What Works in the Neighbourhood was initiated by fourteen as know-all experts, but with the aim of genuinely collaborating. In other words, we want public housing associations and Aedes, an umbrella organisation for such associations.8 It to develop presentations in partnership with local people and get them to help us enables those who play a professional role in neighbourhoods to find relevant knowledge interpret the found objects and the stories associated with them. For example, we invited about the effectiveness of local interventions and to develop and make available such local people to view a selection of objects with us before the exhibition and to share their information for their own organisation and for others. This is a more effective way of stories and ideas with us. We documented that process, recording their stories and substantiating the experiences and convictions of those involved. Sharing knowledge of adding them to our collection. The objects in the exhibition come from many different what does and does not work – and why – is then less a matter of merely personal periods and sources. People feel they have been recognised and appreciated as local observation. The Community of Practice Cultural Incentive follows the same kind of residents when they see ‘their’ objects presented as part of the city’s history. We’ve pattern. This is an initiative by parties that include De Stad BV, ABF Cultuur and the noticed that the connecting role we want to play really does work. 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, The tension between traditional exhibitions and our approach is leading to new kinds of and results of projects. exhibitions. It’s not simply about tea service that happen to belong to Rotterdammers. It’s about Rotterdam’s identity. 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 The link between past and present, and between the smaller, personal story and the city’s their raison d’être not so much from the sector itself, but from its relevance to society. 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 8 www.watwerktindewijk.nl 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 / 23 \ Hoofdstuktitel hier 3 Cultural education and participation in Culture at a Glance 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 Tepaske, E. T. et al., De betekenis van kunst en cultuur in het dagelijks leven (2010). p. 23 ff. 11 See, for example, Boekman 95 on Sociaal-liberaal cultuurbeleid (June 2013). 12 Council conclusions on fostering the creative and innovative potential of young people. EYCS Council (2012). Topteam Creatieve Industrie, Creatieve industrie in topvorm (2011).

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\ > • What are the effects of cultural education? 3.2.2 Cultural education at school The growing interest in cultural education, both in the Netherlands and abroad, is What is the current situation as regards cultural education at Dutch primary and second- creating a powerful incentive to study its effects.13 The Organisation for Economic ary schools? The previous edition of Culture at a glance described the situation from the Co-operation and Development (OECD) recently published Art for Art’s Sake?, a review perspective of cultural policy. To summarise: education has made progress in terms of the study of scientific research on the potential transfer effects of cultural education. underlying conditions for cultural education, but greater attention needs to be paid to the “Transfer effects” means the extent to which cultural education influences pupils’ quality of the school subject itself. This is apparent from research and from a joint performance in other school subjects and “skills for innovation”. Do music lessons make advisory report by the Council for Culture [Raad voor Cultuur] and the Education Council children cleverer, for example, and do visual arts lessons make them more creative? [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 The OECD’s report concludes that a great deal of research is still restricted to establishing time allotted to the expressive arts in years 3 to 8. The number of specialist music correlations and that causal connections have not yet been sufficiently demonstrated.14 If teachers has also fallen. A few specialist music and visual arts teachers have still been there are in fact effects, they do not as yet offer any support for the belief that cultural appointed at primary schools but the vast majority of lessons are now given by the class education has beneficial effects on academic performance, for example in arithmetic, teacher.18 The Quality Cultural Education [Cultuureducatie met kwaliteit] programme helps mathematics, and language. The effects of cultural education on creativity and critical schools and cultural institutions identify and reinforce that quality in cultural instruction. thinking, and on such things as self-confidence, persistence and co-operation, have also Important improvements are the development of a continuous learning pathway in not yet been investigated sufficiently to draw conclusions. It has been established, cultural education, based, among other things, on Culture in the Mirror [Cultuur in de however, that cultural education contributes to making children well rounded and to Spiegel],19 the Curriculum for Fine Arts and Design drawn up by the Association for Cultural preparing them for creative work within society.15 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 Experimental studies indicate that there are, in fact, transfer effects. Music education professional development for primary school teachers and the development of a tool for boosts children’s IQ, their speaking and listening skills, and their scholastic achievement. assessing pupils’ learning outcomes. The Dutch Inspectorate of Education has been asked The training of listening skills has a positive effect on language skills. This can be to draw up a report on cultural education by 2015. The Ministry is working closely with the explained in part by the concentration required for music lessons, while IQ levels and municipal and provincial authorities on this programme. 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

17 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, 13 See, for example, Mieras, F. Wat muziek doet met kinderhersenen (2010). Cultuureducatie in het basisonderwijs (2012). 14 See also Oosterhuis, R., Slimmer en succesvoller dankzij de kunst? (2012). 18 Inspectie van het Onderwijs, Over de volle breedte, Stand van zaken met betrekking tot het onderwijsaanbod in het 15 Winner E., T.R. Goldstein & S. Vincent-Lancrin, Art for Art’s Sake? The Impact of Arts Education (2013). basisonderwijs (2013), pp. 11–12. 16 See http://www.lkca.nl/onderzoek/OESO_rapport_effecten_kunstonderwijs.asp 19 Heusden, B. van, Cultuur in de Spiegel, naar een doorlopende leerlijn cultuuronderwijs (2010)

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\ > 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 For example, we’ve just finished a project with a primary school related to our Einstein, Netherlands region. It puts on a wide range of different shows, ranging from popular Faster Than Light show. The pupils worked with an artist on building replicas of planets. We Broadway-style productions at theatres to small, intimate performances at schools or then built a replica of the entire solar system in the playground. Each child moved the on location. Monique Corvers, the artistic manager, and Marjolein van Bommel, the earth to the position that it occupies in the solar system on his or her birthday. The commercial manager, talk about arts education.20 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. “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 Like other theatre companies in the Basic National Infrastructure, we see the inclusion of performances. Art broadens children’s minds and helps them look at the world around cultural education in the primary school curriculum as a huge opportunity. Dutch youth them through different eyes. By creating theatrical productions that reflect the interests theatre is highly regarded abroad. Our company alone will be performing in Australia, and experiences of pupils, we stimulate their emotional, creative, cognitive, and social Austria, Belgium, Germany, Ireland, Luxembourg, Russia, and Switzerland this year. development and their communication skills. 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 Everything we do is based on the artistic content. We build the best bridges we can to one sees on Broadway – right here in their local theatre. And the show may very well turn schools and do whatever is needed to make our performances fit in with the lesson out to be more than just a one-off encounter, but can have long-term benefits for all sorts programme. We tailor our educational activities as much as possible to the various school of subjects and extramural activities.” subjects, be they geography, history, and so on. That way the curriculum becomes more integrated.

20 Interview with Monique Corvers and Marjolein van Bommel, 16 August 2013.

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3.2.2.1 Music education at primary school and the lower years at secondary schools. Almost all school history courses have now In 2009, the Cultural Participation Fund began implementing the Music in Every Child included the Canon in their teaching materials.24 [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 • Increasing use of the Canon addition, 2010 saw the launch of the Music Counts [Muziek Telt] campaign by the former Five years after it was introduced, the Canon is now being used by 63% of Dutch schools. “Kunstfactor”, the Cultural Participation Fund, and Music Centre Netherlands That is considerably more than in 2008, when only 33% were using it.25 Schools that do [Muziekcentrum Nederland]. This campaign aims to draw attention to the importance of not use the Canon (36%) say that the main reason is that the topics it covers have already music education at primary schools. An opinion poll was carried out in that connection on been incorporated into their teaching. Of those 36%, 17% say that they do intend starting the importance of music education; this showed that more than four fifths of the Dutch to use it. Only a few schools give other reasons for not using the Canon. They say that population consider that music lessons are important for children.22 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 • Research on music education (each 2%). 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 The Internet plays an important supportive role. Schools are particularly familiar with the employee only a few specialist teachers with a background in music education. Music Dutch Canon website (www.entoen.nu), with 64% saying that they sometimes access or education is given mainly by the class teacher, sometimes with the assistance of external use one or more of its components (2008: 13%). Schools collaborate extensively with (instrumental) music teachers. Lessons focus primarily on technique and listening skills cultural institutions when using the Canon in their teaching, primarily with libraries (75%), and far less on interpretation and aesthetic skills. There is also no consensus on what should centres for cultural education (60%), and museums (50%). In general, primary schools actually be taught. Class teachers, for example, tend to emphasise general music education, have a very positive opinion of the Canon as a pedagogical concept (see Table 3.1). whereas specialist music teachers emphasise instrumental skills to a greater extent.

• Need for more music education training Table 3.1 Opinion of the Canon as a pedagogical concept (N= 363)26 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 The canon... Yes ? No ------focus on providing practical support. There is also little collaboration between schools • helps inculcate knowledge of Dutch history and culture 83% 10% 6% 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 • can be used effectively in education 77% 18% 6% 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 • has well-chosen components 65% 27% 7% ...... necessary pedagogical and didactic skills for whole-class teaching. Specialist music • meets a need in education 53% 30% 17% 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 • offers welcome guidance for my lessons 51% 28% 20% need for training in music education, both in teacher training programmes and for current ...... teachers.23 • appeals to pupils 47% 40% 13% ...... • strengthens our national identity 43% 38% 18% 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 • helps us to overcome gaps in education 40% 41% 20% 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 • is superfluous 14% 14% 72% ...... 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

21 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). 24 More information is available on the associated website: www.entoen.nu. 23 Schilt-Mol, T. van, Muziekles op de basisschool: meer en beter? In Jaarboek Actieve Cultuurparticipatie 2012. Fonds voor 25 Haalen, J. van & M. Kieft, De Canon in het basisonderwijs, Utrecht. Oberon, September (2012). Cultuurparticipatie, Utrecht (2012), pp. 37–50. 26 Adapted from Haalen, J. van & M. Kieft, De Canon in het basisonderwijs, Utrecht: Oberon, September 2012.

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\ > The highest level of agreement was with the statement “The Canon helps inculcate The more children enjoy reading, the greater the effect that it has.30 Reading aloud to knowledge of Dutch history and culture”, with some eight out of ten schools agreeing. children also has a positive effect on their text comprehension, vocabulary, and spelling.31 Schools were also enthusiastic about using the Canon effectively in education (in 2008, A survey conducted in the context of Reading Aloud Year [Jaar van het Voorlezen] showed that statement in fact had the highest level of agreement). Only a minority consider the that 51% of all people in the Netherlands sometimes read aloud to children or adults. Canon to be superfluous. 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 3.2.2.3 Culture credit card every day. In three quarters of cases, people read aloud for between 5 and 15 minutes. Of The aim of the Culture credit card is to encourage participation in cultural life by second- those who never read aloud to others, 41% still say that it is “fun”, while 75% say that it is ary school pupils (VMBO, HAVO, VWO, and VSO schools and Practical Education (PRO)). “useful”. Most people in the Netherlands are aware that reading aloud is beneficial.32 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 • The Art of Reading pass with 15 euros worth of credit on it. For the first three years, the VSB Fund added The Dutch Reading Foundation [Stichting Lezen] is the national knowledge centre for another 10 euros for pupils taking the subject of “Cultural and Artistic Education”. The reading promotion and literature education. Since 2008, it has collaborated with the credit becomes available when the pupil activates the pass. In the 2011–2012 season, 89% Public Libraries Sector Institute [Sectorinstituut Openbare Bibliotheken] on the Art of of all registered pupils did so. A total of just under 1300 cultural institutions had signed up Reading [Kunst van Lezen] programme to promote reading. Between 2012 and 2015, the for the initiative in that season. programme comprises three components: strategic reading promotion networks, BoekStart, and the Library at School. Strategic reading promotion networks form the core of A number of spending trends have become apparent in the four school years since the “Art of Reading”. During a long-running campaign, library directors attend a variety of Culture credit card was introduced (2008–2012). Most spending was on theatre and workshops and regional conferences preparing them for collaboration with municipalities dance, by 30% of pupils. Art centres took second place, with approx. 20%. Spending on and institutions (Centres for Family and Children (CJGs), childcare organisations, and cinema and art cinemas declined, with the budget falling from 8% during the first school schools). The aim is to ensure the systematic, long-term incorporation of BoekStart and year to 4% in the final school year. In the case of museums, there was a slight rise to 10%. Library at School into the policy pursued by all the partners. 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 In the BoekStart programme, the parents of newborn babies receive a letter containing a percent.27 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 subscrip- During the 2012–2013 season, it was uncertain whether the Culture credit card would tion”, 45% are active and borrow a baby book at least four times a year.33 The Library at continue to exist. The first Rutte Government decided to terminate funding for the School system has now been introduced at more than 700 primary schools. In secondary scheme. Minister Bussemaker has made government funding available again for Culture education, the system will begin in 2013 with a series of pilot projects. 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.

27 CJP, Eindrapportage Cultuurkaart 2011–2012. 30 Huysmans, F., Van Woordjes naar wereldliteratuur (2013). 28 Cultural policy memorandum Cultuur beweegt (10 June 2013). 31 Bus, A.G., et al. Een meta-analyse naar intergenerationele overdracht van geletterdheid (1994). 29 Notten, N., Parents and the Media (2011) & Kortlever, D.J.M. & J.S. Lemmens, Relaties tussen leesgedrag en Cito-scores van 32 http://www.leesmonitor.nu/newsitem/808/ Kinderen (2012). 33 Evaluatie BoekStart, Stichting Lezen, 2012.

32 / 33 \ 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 ‘Helping children enjoy reading with the Reading Express’ 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 In the Reading Express programme [VoorleesExpress], a group of enthusiastic volunteers help children schools at local level, i.e. between the municipal authorities, the school managers, and with a language deficiency by reading to them in their own homes over a twenty-week period. The the cultural institutions. 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 3.3 Receptive participation in cultural life puts people in touch with one another. Piet Hoffman34 has been a volunteer with Reading Express in Amsterdam for almost a year now. 3.3.1 Trends in participation in cultural life “According to the guidelines, volunteers are supposed to read aloud to the children for 45 minutes and The Netherlands is one of Europe’s leaders as regards participation in cultural life. It is, for then spend 15 minutes talking to the parents. But 30 minutes is already quite a long time to read aloud example, in the top three for theatre attendance, reading (books), and visits to museums, (although we alternate reading and playing games, colouring pictures, putting on shows, and just art galleries, and historic buildings.36 However, participation is not stable. Since the 1980s, 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 visitor numbers have been falling where the more costly and traditional performing arts a ritual. are concerned, for example opera. The number of people borrowing books from libraries It’s amazing to be able to help a child’s development just by spending an hour with them each week is also falling, but in the case of popular art forms such as popular music and film, interest and by getting to know them as neighbours. The volunteers develop real relationships with the is in fact increasing. 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 • From “AVO” to “VTO” very welcoming. In order to keep track of these trends, the Ministry for many years utilised the figures A lot of volunteers stay in touch with the host families even after the twenty weeks are finished. Still, generated by the Netherlands Institute for Social Research (SCP) on the basis of its they try to coach the parents as much as possible during the final few sessions so that they will Amenities and Services Utilisation Survey (AVO). The AVO was a large-scale survey, carried continue reading aloud to their children themselves. Many parents have to get over their own fear of out every four years, of the utilisation of government-provided facilities. The size and mispronouncing words or not knowing what they mean. So the project also helps the parents improve cost of the survey meant that the SCP was unable to continue it, ending an uninterrupted, their language skills.” decades-long series of surveys concerning participation in cultural life in the Netherlands.

34 Interview with Piet Hoffman, 1 August 2013. VoorleesExpress was initiated by SodaProducties, bureau voor Maatschappelijk Innovatie. 35 Admiraal, K. et al., Cultuureducatie op niveau (2012); Ligtvoet-Janssen, M.G.A. et al., Kansen voor cultuureducatie (2012). 36 Eurostat, Eurobarometer 278 (2007), p. 16. 34 / 35 \ 3 \ Cultural education and participation in cultural life

\ > The Leisure Activities Survey (VTO) provides a new basis for our knowledge of such tion of the Netherlands went to the cinema at least once a year; this represents an participation in the country. The first survey took place in late 2012/early 2013, with the increase compared to 2004. A quarter of the population attended a popular music, first reports appearing later in 2013. The VTO will take place once every two years, cabaret, musical, or theatre performance. About half the Dutch population visited a therefore providing more up-to-date information. 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 Data from the VTO does provide up-to-date information but not yet any information as called a trend; it may be due to the economic crisis. The exceptional position of film was regards trends. A solution to this can be found in a different SCP survey associated with noted previously, including in an international context. In times of crisis, falling attend- the SCP Life Situation Index (SLI). That survey includes a limited number of questions ance affects film less than other genres.39 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 • Differences between generations Social State of the Netherlands 2013.37 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 Table 3.2 Cultural participation by Dutch population (18 and over), 2004–2012 distributed across different age groups, but the public for such events is in fact ageing. (percentage who, once or more in the past twelve months, have attended...) ------The differing generations have been socialised differently in cultural terms. People retain 2004 2006 2008 2010 2012 the cultural preferences of their youth for the rest of their lives, and only some of those ------Opera 6 6 5 6 4 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 Classical music 19 19 17 20 18 trend continues, it will mean that popular culture will have increasingly wide audience...... Ballet 8 7 7 7 6 • Traditional culture ...... Theatre 25 28 28 29 27 Compared with attendance at popular culture performances, attendance at traditional ...... cultural events – theatre, classical music, ballet, museums, and historic buildings – Museum 44 49 47 50 48 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. Musical 25 27 26 26 24 There are significant differences within the traditional disciplines, but these dwindle to ...... Cabaret 22 24 25 25 22 insignificance in survey results when taken the genres are taken as a group. The prefer- ...... ence for classical music has declined with successive generations. In the youngest Film 55 56 54 61 61 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 Popular music 25 27 31 29 27 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 For many cultural institutions, the ageing of the population provides an opportunity to participation differ from those based on the AVO and therefore from the Kunstminnend attract more people in the older age groups, something that the SCP refers to as “cashing Nederland? study [The Art-loving Netherlands?] discussed below.38 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 • Declining participation group.42 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 39 In southern European countries such as Spain and Greece, there has in fact been a marked decline in the number of people cultural institutions. The surveys show that in 2012 more than 60% of the adult popula- 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 37 The SCP will also use the figures in the Cultuur Index Nederland, which it is developing together with the Boekman 41 Broek, A. van den, et al. Cultuurbewonderaars en cultuurbeoefenaars (2009), p. 121. Foundation. A special edition of the periodical Boekman on this topic will appear in December 2013. 42 Ministerie van Onderwijs, Cultuur en Wetenschappen et al. http://www.rijksoverheid.nl/documenten-en-publicaties/ 38 This is disappointing and sometimes troublesome in the context of policy; it is, however, unavoidable with research of this convenanten/2013/06/18/convenantouderen- en-cultuur.html (accessed 8 August 2013). kind. There is still no generally accepted international standard for research on participation in cultural life.

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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.

Figure 3.1 Interest, reach, and conversion for various art forms In current discussions of the arts and the extent to which they reach the public, much is Population aged 16 and over, 2009 (as percentages)44 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, 100 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’ 90 experience. In the arts and culture, however, that kind of research is still rare, even though 80 knowing what an audience experiences during a performance or an exhibition may enable performers and artists to key into that experience more effectively. 70

60 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 50 the following statements, which describe how they may have felt during their last visit (to a museum, the theatre, etc.): 40 • it was relaxing; 30 • it got me thinking; • it made me laugh, it made me happy, it cheered me up; 20 • it was comforting, consoling; 10 • it gave me a shot of energy, pepped me up, charged me up; • it was moving, emotional; 0 • it made me a sense of belonging. classical visual arts theatre dance musical cabaret lm popular music music The results are summarised in Figure 3.2 according to canonical and popular art forms.45

interest reach conversion

45 It is striking that no category is included that attempts to describe the experience of beauty or aesthetic pleasure. 43 Broek, A. van den, Kunstminnend Nederland? (2013). This does not deal with heritage. 44 SCP version based on Broek, A. van den, Kunstminnend Nederland?, (2013).

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3.3.3 Participation in cultural life via audiovisual media and the Internet Figure 3.2 Experience when attending or visiting canonical and popular art forms, The media (press, radio, and TV, the Internet, and social media) play a very big role in our according to kind of experience lives. We devote a lot of time to the media and they are a huge influence on our feelings, Population aged 16 and over, 200946 opinions, and actions. Television still plays the biggest role. On average, people born after Percentage who “agree entirely” or “agree” with the statement presented 1960 spend more time watching television than working over the course of their life.47

100 Surveys by SPOT and the SCP of how people spend their time reveal how we use the 90 media.48 SPOT49 measures use of the media over the whole day. The total amount of time 80 people spend using the media is almost 7 hours; about a quarter of this use is simultane- ously with other activities. Television is still the dominant medium, accounting for 46% of 70 people’s time, followed by the Internet (30%).50 Time spent using the media peaks in the 60 evening hours, at about 9 p.m., some 60% of the Dutch population are engaged in some 50 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 40 dominates our spare time by a wide margin.51 In the Netherlands in 2006, the media took 30 up an average of 2 hours and 51 minutes a day, as opposed, for example, to 1 hour and 22 20 minutes for social contacts, informal help, voluntary work and social participation, 51 10 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 0 relaxing got me laughter, happy, comforting shot of moving, sense of far the dominant activity. Only a very modest amount of time is spent on “culture and thinking cheerful energy emotional belonging entertainment”.

canonical art forms: classical music, visual arts, theatre, dance popular art forms: popular music,
lm, 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.

47 Elchardus, M., Self control as social control. The emergence of symbolic society. In: Poetics 37 (2009) p. 154. 48 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 46 SCP version based on Broek, A. van den, Kunstminnend Nederland? (2013). Hague, SCP (2011), p. 39. The statistics concern the year 2006.

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Figure 3.3 Time spent on various forms of relaxation in the Netherlands and fifteen Figure 3.4 Listening to/viewing recordings or objects by means of printed, audiovisual, European countries digital, and/or online media Population aged 20–74 (hours: minutes a day)52 (as percentage of population aged 18 or over, 2009)54

Southern Western Europe Northern Europe Eastern Europe Europe 90% 5:00 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 Cultural heritage Visual arts Classical music Popular music Film

0:30 Audiovisual media Digital media Online media Printed media 0:00 Notes: Italy Spain Latvia France United Poland Estonia Finland • “Printed media” refers to books and periodicals. Norway Sweden Average Bulgaria Belgium Slovenia Germany Kingdom Lithuania • “Audiovisual media” comprises television, radio, DVD, video, CD, LP, and minidisc. Netherlands • “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. 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 What is the situation regarding participation in culture via the media? Needless to say, halls, art galleries, or museums but also via the media. These figures do not yet reflect the this cannot be directly equated with the experience of going to a concert or viewing a subsequent rise in mobile Internet and tablet use. It is highly likely that consumption via painting. Sometimes, however, the difference is less marked, for example in the case of a the Internet (including on mobile devices) will continue to increase in the years ahead. 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 percent- ages 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.

54 52 Cloin (2011), p. 86, Fig. 5.1. SCP (TPO ‘06/EU); other countries HETUS. Broek, A. van den (2013) p. 28–20. 53 Broek, A. van den (2013) p. 28–20.

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3.3.4 Culture on television (public broadcasting) • Viewer numbers for programmes The study referred to above gives an indication of total participation in culture via the Viewer numbers here means the number of people (aged six or older) who watch a media. One of the major players in this media landscape is the Netherlands Public programme for at least five consecutive minutes.59 In 2012, 8.3 million individual persons Broadcasting (NPO), whose task is to programme broadcasts featuring the arts and viewed a classical music programme on public broadcasting. On average, they watched a culture.55 The Performance Agreement [Prestatieovereenkomst] for the NPO for 2010– classical music programme (or part of a programme) 2.9 times per year. Viewer numbers 2015 provides for this as follows. The NPO “also wishes to maintain the scale, breadth, can vary widely, from a few thousand to millions (for example André Rieu) per broadcast. and variety in the domain of the expressive arts in the next five years”. For television, this Popular music attracts more viewers (the figures are slightly less than double) but there means “an annual variety of expressive arts programmes (informative programmes about are ten times as many broadcasts. Some 14 million people watch informative pro- the arts, including art documentaries), music (including classical music and broadcasts of grammes about the arts (Het uur van de Wolf, Opium, Museumgasten, Tussen Kunst en Kitsch, festivals, concerts, and theatre), fiction, and cabaret/satire”. In the case of radio, this will Dode Dichters Almanak). Virtually everyone aged six or over sometimes watches at least five involve recording and reporting concerts and music events.56 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 The Audience Research Foundation (SKO) tracks the ratings for individual programmes million viewers, while the cultural documentary programme Het uur van de Wolf [Hour of the broadcast by both public and commercial organisations and provides daily reports.57 Wolf] has 200,000 viewers, with peaks of up to almost a million. Besides the NPO’s Public broadcasting programmes are also categorised, including in the NPO’s annual “normal” television channels, there is also Cultura24, which people can also watch on the report on its activities. This enables the NPO to report on the number of people who watch Internet.60 Cultura24 specialises in cultural programmes. In 2012, regular audience programmes about the arts and culture. As an illustration, we will look at television measurement indicated a viewership of just under 3 million, with an upward trend in the programmes featuring classical and popular music and informative programmes about art. 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 Table 3.4 Viewer figures for some categories of NPO arts programmes58 30,000 people a month watched via the Internet, with a spike of 240,000 in May because Dutch population aged 6 and over, 2012 the Pinkpop music festival was broadcast. ------Viewer Average Number of Points of Audience measurements naturally depend on the measuring method. The SKO uses a numbers frequency broadcasts contact period of five consecutive minutes, which excludes accidental uninterested zappers. A far (x 1000) (x 1000) 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. Classical music 8.366 2,9 117 24.031 ...... Popular music 13.988 11,5 1.225 160.267 • 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 Informative accessing arts and culture programmes, for example the many foreign broadcasting programmes stations that are available, such as the specialised Arte. There has never been a greater about the arts 14.252 21,2 1.860 302.779 ...... number of such programmes available via the media (television, radio, the Internet) and Notes: the markets are highly volatile. However, the population and public surveys and the • Viewer numbers: the number of individual persons aged six or older who watched for at least five consecutive audience measurements currently carried out by various parties have not yet been able to minutes. produce a coherent overview of all the cultural programmes and events on offer and the • Average frequency: the average number of times that a programme in the category was watched. extent to which people consume them, whether via the media or “live”. This remains a • 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. significant challenge.

55 Media Act [Mediawet], Section 2.1. 56 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). 59 For ratings, the KLO (Viewers and Listeners Research Organisation) applies the criterion of “watched for at least 5 58 The NPO’s annual Review [Terugblik] – which accounts for the extent to which the organisation has implemented the consecutive minutes”. The standard lower limit for a “view” in the Netherlands is one minute. The SKO assumes that arrangements set out in its Performance Agreement – provides details of the programmes to be broadcast. Less detailed someone who has watched for at least five consecutive minutes more or less consciously wished to watch at least part of arrangements have been made regarding viewer numbers. At the request of the Ministry of Education, Culture and Science, the programme. the viewer numbers were provided by the Audience Research Foundation/NPO. 60 Since the summer of 2013, all the NPO’s television channels can be watched at NPO.nl.

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3.3.5 Internet and social media • Museums and the social media Cultural institutions that wish to reach the public via the Internet need to make their Museums, in particular, keep close track of how active they are in the field of social events and activities accessible in an attractive manner. More and more Dutch museums media.63 They utilise social media in order to increase their visitors’ engagement with are active digitally. Their websites provide information not only about the museums them. This sometimes involves very large numbers of people, even when compared with themselves but increasingly about their collections. Digitising heritage makes it more the number of visits to the museum itself. The Van Gogh Museum, for example, has 2.7 accessible for the general public. The Digital Museum Collection of the Netherlands million followers on Google+, although the annual number of people actually visiting the (DiMCoN) – set up by the government service for Cultural Heritage (RCE) – is an example. museum is 1.4 million. Art museums are particularly active via the social media, with the This digital collection now comprises more than 2.7 million items held by 43 museums, trailblazers being the museums around Amsterdam’s Museumplein Square. Facebook is including Amsterdam’s Rijksmuseum.61 There are also concerns about the unintended primarily a visually oriented network where photos and videos attract a great deal of side effects of making collections available digitally. For example, publicising the location attention. Twitter focuses mainly on texts and links, and is much faster than Facebook. It of certain religious heritage items or giving precise details of (precious) materials is normal for a museum to send several tweets each day, whereas the daily average on increases the risk of theft. Facebook is two posts a day. In 2012, the museums with the fastest-growing number of Facebook fans were the Cultural institutions may also find it worthwhile to present themselves via the social Rijksmuseum, Naturalis, and the Museum of Communication. Those with the fastest media. Based on recent market research, it is estimated that almost eight out of ten growing number of followers on Twitter were the Netherlands Photo Museum, the people in the Netherlands use one or more social media. The largest networks used in the Kröller-Müller Museum, and the Stedelijk Museum Amsterdam. Tables 3.5 and 3.6 show country are shown in Table 3.4. the Dutch museums with the largest number of Facebook fans or Twitter followers.

Table 3.4 Estimated use of social media in the Netherlands in 201362 Population aged 15 and over, in millions of users Table 3.5 Dutch museums with the largest number of Facebook fans (likes) ------(reference date: 10 July 2013) number of users of whom daily users ------Museum Number of fans Number of fans Facebook Facebook 7,9 5 top 100 worldwide ...... ------Youtube 7,1 0,9 Rijksmuseum 150.000 39 ...... LinkedIn 3,9 0,4 Van Gogh Museum 140.000 43 ...... Twitter 3,3 1,6 Anne Frank House 61.000 97 ...... Google+ 2 0,5 ...... Hyves 1,2 0,3 Table 3.6 Dutch museums with the largest number of Twitter followers ...... (reference date: 10 July 2013) ------Using social media can increase public involvement, for example by encouraging debate Museum Number of fans Position in the museum and discussion, improving marketing performance, and appealing to specific target Twitter top 200 ------groups. Van Gogh Museum 65.000 51 ...... Stedelijk Museum Amsterdam 55.000 66 ...... Boijmans van Beuningen Museum 28.000 115 ......

61 http://www.dimcon.nl/ (accessed 1 August 2013). 62 http://www.newcom.nl/socialmedia (accessed 10 July 2013). 63 http://www.museum-analytics.org/ (accessed 1 August 2013).

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\ > More detailed research is required in order to interpret these figures correctly. 12 to 19-year-olds at 57%. The MAK gives a similar picture. One clear trend is the growing Comparison with other museums can clarify matters, as can comparison with other involvement of older people in the amateur arts, in particular those age 65 and over (popular) Facebook pages. An extremely popular artiste such as the singer Marco Borsato, (1995–2007). The MAK shows that 37.5% of the over-65 population were engaged in the for example, has more than 100,000 fans on Facebook and The Voice of Holland has arts in their spare time. 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 Table 3.7 Involvement in amateur arts, by discipline68 and other cultural institutions must be visible if they are to compete with one another Dutch population aged 6 and over (as percentage of population) and with other leisure activities. ------2009 2010 2011 2012 2013 3.3.6 Reading e-books ------Total 52% 52% 48% 48% 41% 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 Discipline e-books in the total Dutch books market is still modest, certainly when compared to the • Visual arts 21% 21% 21% 21% 20% 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% • Music 21% 21% 16% 20% 18% 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 • Dance 12% 15% 11% 10% 9% ...... read solely printed books (69% in 2012). For a long time, the e-reader was the most • Theatre 6% 5% 5% 5% 4% 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 • (Creative) writing 12% 11% 13% 13% 6% 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 • Photography/film/video/new media 14% 16% 15% 15% 12% ...... 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 Table 3.7 shows the distribution across the various disciplines; a decline is apparent in all access is easy. This suggests that with the right business model, it may be possible to of them. In some disciplines, the decline may reflect a change in the survey questions to transfer some of the present illegal downloads to the legal, paid-for channel.66 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 3.4 Amateur Arts 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 Many Dutch people are actively involved in the arts in their spare time. According to the disciplines. 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 • Reasons for involvement in amateur arts SCP gives a figure of 48%.67 The Amateur Arts Monitor (MAK) for 2013 (see Table 3.7) Why are people involved in the amateur arts in their spare time? The most important arrives at percentages for people aged six and over of between 52% (in 2009 and 2010), reasons given are enjoyment and relaxation (80–90%). (In the case of children, that 48% (in 2011 and 2012), and 41% in 2013 (Table 3.7). The downward trend would suggest percentage is noticeably lower. This may be because children receive far more lessons and that fewer people are involved in the amateur arts. To what extent is unclear, however, more is required of them.) These general reasons are followed by more specific ones: “to because in 2013 the MAK was carried out in a somewhat amended form. learn something, get better at something” and creativity (“to make/do something Women are clearly more active in the amateur arts than men, with 47% of women yourself”). More than 60% consider this to be important. For many people, involvement involved as opposed to 35% of men. Young people are the most active group: in 2007, the in the amateur arts also has a social function (“fun to do something together with other SCP found that 64% of those aged 6 to 11 were involved in the amateur arts, followed by 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). 64 Facebook (accessed 8 August 2013). 65 http://www.leesmonitor.nu/page/10006/Digitalisering (based on Stichting Marktonderzoek Boekenvak/Intomart GfK, 2013) (accessed 29 August 2013). 68 LKCA, Monitor Amateurkunst 2013: beoefenaars en voorzieningen (2013, forthcoming). 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.

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Table 3.8 Reasons for involvement in amateur arts • Availability of facilities Percentage of respondents who say they consider the reason listed to be important69 Public authorities, usually municipalities, fund part of the infrastructure for the amateur ------arts. The economic situation means that many authorities are economising on the n=1701 6 - 19 y. 20-64 y. 65+ Total 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 Make or do something yourself 58 64 68 63 ...... respondents, 8% said that there were not enough facilities available or that they were Learn something, get better at insufficient. The majority of people involved in the amateur arts were satisfied with the something 66 64 60 63 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 Let other people (an audience) to them in 2011. see/hear/read what I can do 29 18 20 21 ...... It relaxes me 62 85 80 79 ...... It’s enjoyable 88 91 87 89 ...... Meet people with the same interest 36 48 53 46 ...... Nice to be appreciated for what I make or do 59 41 35 44 ...... Fun to do something together with other people 65 58 57 59 ......

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.

69 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.

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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 Voluntary work is important in the cultural sector. Many hundreds of thousands of libraries utilised the services of almost 7000 volunteers, in addition to just under 9000 volunteers are active in the sector, but there are no clear figures offering an overall paid employees.74 A large number of volunteers are involved in amateur arts organisa- picture. The study Geven in Nederland [Giving in the Netherlands]71 estimates that each year tions. A survey in 2009 estimated that one in eight amateur artists carry out voluntary 38% of the Dutch population are involved in a civil-society organisation as unpaid work for their organisation, i.e. a total of one million people. 75 This kind of voluntary volunteers. The SCP 72 arrives at a somewhat higher percentage of 47%. Geven in work is somewhat different to that which people do for many other civil-society organi- Nederland notes that the number of volunteers is in fact falling somewhat (Table 3.8); for sations, because it very often means supporting one’s own hobby. 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 According to Geven in Nederland, in 2013, 3% of the population were involved as volunteers organisations of the Netherlands Association of Theatres and Concert Halls (VSCD) in in a civil-society organisation in the “arts/culture” category and another 5% in the 2011, some 35% (3610 people) were doing so as volunteers. That is 4% of the total number “recreation/hobby” category. “Recreation/hobby” probably also includes cultural of FTEs.76 A relatively large number of volunteers can also be found working at popular organisations, although one can only guess at how many. Based on people aged 15 and music venues.77 Some 500 smaller music venues and festivals are run largely by volun- over, one arrives at a minimum of 400,000 volunteers. teers. 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 Table 3.9 Voluntary work for civil-society organisations during the previous 12 months a 73 FTEs, 60%).78 ------Number of • Volunteers in the heritage sector volunteers Museums are also staffed by a large proportion of volunteers. In 2011, Statistics Netherlands aged 15 2002 2004 2006 2008 2010 2010b 2012c and over 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 (millions) 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 Total 46% 43% 42% 45% 43% 41% 38% 5,244 number of volunteers would be even higher,80 above all at small museums...... Arts/culture 3% 2% 2% 3% 5% 4% 3% 0,414 ...... In 2003, the SCP reported that 1.5% of people aged 16 and over (160,000 people) did Recreation/hobbyd 8% 7% 7% 7% 6% 5% 0,69 voluntary work for museums, exhibitions, heritage conservation, archaeology, or ...... archives.81 The majority of these were people with an advanced level of education and Notes: elderly people. Between 1995 and 2003, the proportion of people with an advanced level a May 2011– May 2012. of education fell and that of elderly people increased. Although the group of people b generalisation excluding non-Western minorities, according to same method as 2002–2008. c generalisation including non-Western minorities. actively involved has therefore grown, the ranks of members and volunteers are in fact d not included as separate category in 2002. 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.

74 Figures from Netherlands Institute for Public Libraries (SIOB), 21 August 2013. 75 Kunstfactor, Onderzoek Vrijwilligers in de amateurkunst (2009). 76 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 71 Bekkers, R., Het geven van tijd: vrijwilligerswerk (2013), p. 108. million. 72 Bijl et al. (Eds), De Sociale staat van Nederland (2011), p. 196. 79 Statistics Netherlands, Statline Musea; openstelling, type collectie, bezoeken, tarieven, tentoonstellingen (accessed 29 June 73 Schuyt, T., Gouwenberg B. & Bekkers, R., Geven in Nederland 2013 Giften, Nalatenschappen, Sponsoring en Vrijwilligerswerk 2013). (2013). Number of volunteers aged 15 and over: version by Ministry of Education, Culture and Science based on population 80 Broek, A. van den, Het draagvlak voor cultuur (2011), p. 58. data provided by Statistics Netherlands. 81 Huysmans, F. & J. de Haan, Het bereik van het verleden (2007), p. 165.

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\ > • “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 volun- teers 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.

82 Huysmans, F. & J. de Haan (2007), p. 165. 83 www.federatievriendenmusea.nl 84 Huysmans, F. & J. de Haan (2007), p. 170.

54 / 55 \ Hoofdstuktitel hier CULTURE AT A GLANCE 4 The economic value of culture

2013

4.1 Introduction 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 Key economic figures

4.2.1 Contributions to the economy The cultural sector is a significant component of the Dutch economy. In 2012, its contribu- tion 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 / 57 \ 4 \ The economic value of culture

Figure 4.1 Contribution of the cultural sector to gross domestic product (2008–2012)85 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 3,00 % 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 2,50 % for the research methods and models to be improved.

4.2.2.2 Tourism 2,00 % 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 1,50 % 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 1,00 % Tourism & Conventions (NBTC) shows that the number of foreign tourists was 3% higher in 2012 than in 2011.92

0,50 % 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 0,00 % fourth place when choosing the destination for a multiple-day trip. In addition, 35% of Total cultural sector Arts and heritage Media and entertainment Creative business services 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 94 2008 2009 2010 2011 2012 Austria.

• Domestic tourism 4.2.2 The broader economic impact of the cultural sector A study of Domestic Tourism and Cultural Heritage [Binnenlands Toerisme en Cultureel erfgoed] Besides its direct contribution to the country’s gross domestic product, the cultural sector associates cultural heritage with the destinations chosen by Dutch day trippers within also has a broader impact on the Dutch economy. Culture contributes to making the Nether­- their own country.95 The researchers used models from the Ongoing Holiday Study [Continue lands a more attractive tourist destination and business location for both businesses and Vakantie Onderzoek], data on heritage produced by the government service for Cultural their employees. Culture is also valuable in terms of the quality of our living environment. 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 4.2.2.1 The importance of culture for cities, and regions positive effect on how respondents rate a destination. The researchers speak of an It is becoming increasingly important for towns and cities to provide an attractive range “ensemble effect”: it is above all visiting heritage sites – for example an ensemble of of amenities for consumers and residents. Towns and cities are not predominantly places historic buildings or museums – that produces a positive evaluation. where businesses produce products but increasingly places where tourists, visitors, and A recent study of the impact on tourism of heritage properties in Flanders indicates the residents consume.86 It is growing increasingly important to clarify the effects of culture same effect. The presence of heritage is a decisive factor in people’s decision to stay the on prosperity. Research on this topic can make a useful contribution to discussion of the night in an art-rich city such as Bruges.96 The study also looked at people’s spending when 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. 89 • De sociaal-economische impact van het onroerend erfgoed(beleid) in Vlaanderen. Over the past decade, numerous municipalities and provinces have commissioned studies • Lazrak F. & J. Rouwendal. Cultureel erfgoed en waardeontwikkeling van vastgoed (2013). • Marlet G. & C. van Woerkens, Atlas voor Gemeenten (2011). of the role culture plays in the location decisions of businesses and homeowners. • Duijn van M. & J. Rouwendal, Cultureel erfgoed en het vestigingsgedrag van huishoudens (2013). Research shows that it is only in Amsterdam that the creative industry has a positive • Marlet G. & J. Poort (2011) p. 9. 90 Richards, G., Cultural Tourism in the Netherlands (2005). 88 impact on employment; if we exclude Amsterdam, no effects are apparent. 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). 85 Figures supplied by Statistics Netherlands, July 2013. For GDP, Statistics Netherlands uses “GDP in basic prices”. 94 The survey defined culture as belief, cultural activities, and the arts. 86 Burger M. & F. Neffke, Economische waarde van kunst en cultuur (EUR), January 2011. 95 Loon van R., Binnenlands toerisme en cultureel erfgoed (2013). 87 Marlet G. & J. Poort, Atlas voor Gemeente (2011), p. 9. 96 Baerdemaeker M. et al., De sociaal-economische impact van het onroerend erfgoed(beleid) in Vlaanderen (2011), p. 77. 88 Raes S.E.P & B.P Hofstede, Creativiteit in kaart gebracht (2005), pp. 33–34.

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\ > visiting Flemish heritage sites. It is notable that direct spending at heritage sites (admis- sion charges) is minimal. Visits to heritage sites generate primarily indirect spending, with Advocates of the European Capital of Culture system say that it reinforces the winning the heritage site itself acting as the “background” for a city trip.97 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 • Magnets: the major cities museums increased by 25% and Rotterdam attracted greater international interest, Cultural locations in the Netherlands – in particular its major cities – are important magnets including in the press. Sceptics argue, however, that it is difficult to identify the long-term for tourists (especially foreign tourists). A report on Tourism and Recreation in Figures 2012 effects on the city’s image.104 [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 The European Cities and Capitals of Culture report looked at the similarities and differences 2010, some 11 million tourists visited the Netherlands, of whom some 5 million stayed in between the 21 cities that had been European City of Culture (ECOC) between 1995 and one of the four major cities.98 In the same year, museums and attractions in Amsterdam 2004.105 It proved difficult to compare the results of the events in the various cities recorded an increase in visitor numbers compared to 2009.99 The number of visitors to because each event took place in a different cultural and historical context. The organisa- events in Rotterdam and The Hague also increased in 2009–2010.100 The NBTC expects that tion also differed from one city to another, as did the objectives.106 It was noted in this Amsterdam will be a major attraction for tourists in 2013 because of its reopened museums. connection that the cities concerned often fail to achieve the objectives that they The trend in the first half of the year seems in fact to indicate that that is the case. 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 Influence of the reopened museums in Amsterdam development.107 / > 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 4.2.3 Exports and internationalisation that about half of its visitors were from within the Netherlands.101 A spokesperson for the Globalisation has made international cooperation and exports important components for airline KLM linked the increase in passenger numbers during the same period with the the culture sector. In 2012, “DutchCulture” Centre for International Cooperation recorded reopening of the Rijksmuseum, the Van Gogh Museum, and the Stedelijk Museum in that Dutch cultural institutions were involved in 13,586 international cultural activities. Amsterdam. According to a spokesperson for Amsterdam Airport Schiphol, when KLM That represents an increase of about one thousand activities compared to 2011. The carries more passengers, the airport also benefits.102 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 4.2.2.3 European Capital of Culture and city marketing number of activities decreased somewhat, but music remains by far the largest sector. Leeuwarden has been awarded the “European Capital of Culture” title for 2018. The Dutch films have a large geographical reach. In particular, the animation films by Bastiaan intention is to develop the Frisian concept of mienskip, i.e. community spirit. Leeuwarden Schravendeel and Frodo Kuipers and Taking Chances (the international release of the has set itself the goal of becoming an exemplary region when it comes to connecting the children’s film Patatje Oorlog) by Nicole van Kilsdonk were screened regularly at festivals local, national, and European communities. It will pursue that primary aim by breathing worldwide during 2012. 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

97 Idem, p. 87. 98 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 104 See, for example, Richards G. & J. Wilson, The Impact of Cultural Events on City Image: Rotterdam, Cultural Capital of Europe 2013); https://www.rijksmuseum.nl/nl/pers/persberichten/duitse-toeriste-500.000ste-bezoeker-rijksmuseum (accessed 17 2001 (2004). September 2013) 105 Palmer, European Cities and Capitals of Culture (2004). 102 http://www.at5.nl/artikelen/103075/ook-klm-blij-met-heropening-rijksmuseum (accessed 23 July 2013); http://www. 106 Idem, p. 21. metronieuws.nl/regionaal/klm-vervoert-meer-toeristen-naar-amsterdam-na-heropening-rijksmuseum/ 107 Idem, p. 23. SrZmen!yhuJJTJhoa8xQ/ (accessed 18 July 2013) 103 Bidboek Leeuwarden, Criss-Crossing Communities Iepen Mienskip, pp. 2-5.

60 / 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 Music 2,5% 1,2% 0,9%

Theatre 16,1% 2500 Design

Dance 2000 Fine arts 1,8% 43,9% Multimedia 2,3% 1500 Photography 1,8%

Architecture 1000 Film 9,8%

Literature 500 Heritage

Multi-sector 5,2% 4,1% 10,4% 0 BEL GER FRA TUR UK US BRA CHI IND RUS

• Export countries • International collaboration between museums The Dutch cultural sector no longer depends solely on the Dutch domestic market for its A survey by the government service for Cultural Heritage (RCE) shows that Dutch revenues. Germany, the United States, and the United Kingdom are the top three foreign museums are collaborating more closely with their foreign counterparts to loan works for destinations for the cultural sector as a whole (see Figure 4.3). The number of recorded exhibitions abroad. In the period from 2008 to 2011, Dutch museums collaborated activities is increasing more rapidly in the United States and United Kingdom than in intensively with Germany, Belgium, and Japan to arrange short-term exhibitions. For Germany. The substantial increase in activities in Turkey is unsurprising; the celebration of longer loan contracts, the museums worked closely with Germany, the United States, and 400 years of diplomatic relations in 2012 (NLTR400) had a large, wide-ranging cultural Belgium. An exceptional case of interest in Dutch art abroad is the success of the component. The fact that the Netherlands was a guest country during the Guanajuato exhibition of old masters in Tokyo. According to Art Newspaper, that exhibition – of works International Film Festival (GIFF) meant that there were also a relatively large number of by Vermeer, Rembrandt and other artists from the Royal Picture Gallery Mauritshuis (The activities (153) in Mexico. 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

108 Buitengaats, DutchCulture (2013). The activities in the various sectors are extremely varied; this makes comparisons difficult. 109 Buitengaats, DutchCulture, 2013 Buitengaats (literally “offshore”) is an active database, meaning that trend comparisons must be interpreted with a certain 110 http://www.theartnewspaper.com/articles/Attendance-survey–Tour-de-force-show-puts-Tokyo-on-top/29142 degree of caution (the data shown is from May 2013). 111 Nederlandse Kunst In De Wereld 1980–2010. Valedictory lecture Erasmus University Rotterdam, delivered 7 December 2012.

62 / 63 \ 4 \ The economic value of culture

\ > with that from 1996 to 2010. During the latter, the number of presentations of Dutch Figure 4.4 Growth in number of translations 1991 – 2011116 visual arts abroad increased fivefold, while that of Dutch designers increased eightfold. There was also a major increase in the number of exhibition venues. 700

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 600 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 internationalisa- 500 tion 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 400 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 300 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 200 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 100 sharply compared to previous years, with a slight increase in rights and recordings.113

• Exports in the literature sector 0 The literature sector was also actively engaged in international co-operation and exports 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011 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, Number of translations published Number of translations funded by Dutch Fund for Literature (NLF) 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

112 Exportwaarde van de Nederlandse populaire muziek 2011, carried out by Perfect & More bv. for Buma Cultuur. 113 Idem. 114 Annual Report 2012, Nederlands Letterenfonds, pp. 3–4. 116 Annual Report 2012, Nederlands Letterenfonds, p. 4. 115 Idem.

64 / 65 \ ‘The success of The Detour’

Cossee is an independent publishing house located in Amsterdam. Its titles include the Besides the book itself, success comes from having a large national and international novels of Gerbrand Bakker, who – following his first novel The Twin (original title: Boven network. The impact of a successful author like Bakker is huge, partly because he won the is het stil, 2006) – has become the most translated Dutch author at the moment. The IMPAC Dublin Literary Award in 2010 for The Twin and the Independent Foreign Fiction novel has won several prizes and is available in more than twenty countries. Gerbrand Prize in 2013 for The Detour. The Twin has now been translated into more than twenty Bakker’s later novels have also been very successful at home and abroad. Publisher Eva languages. That’s quite a lot. It’s also been adapted for the stage and turned into a film. Cossée117 talks about how to achieve international success in publishing. 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 “When we’re reviewing a new manuscript, the question of whether it might be successful any interesting books that they should read, instead of we having to promote our titles internationally isn’t at the top of our minds. And in any case it’s impossible to predict with them. 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 An international success starts with a good book, and a good book depends on good literature. He recently did a radio interview about his favourite music. So people are now editing. Once we’ve accepted a manuscript, we work closely with the author to make it a interested in more than just his novels. 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 The Dutch Foundation for Literature (NLF) also plays an important role in promoting his friends decided to pop it into the letterbox of one last publishing house. That Dutch literature. It acts as an independent authority that foreign publishers can consult publishing house was Cossee. 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.” 117 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 • Architecture design where Dutch firms have a good track record, for example urban planning, housing, Architecture firms are also affected by the crisis because of the slump in the building trade water management, and redevelopment/rezoning. 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 There are plans to conduct a survey in the near future so as to clarify the effects of the 2013 showed that the order book had declined to 2007 levels.121 Moreover, turnover in the Netherlands’ international cultural policy. DutchCulture will be concentrating more on first quarter of 2012 was more than 20% down on the corresponding quarter in 2011.122 For the qualitative analysis of data on foreign cultural activities (using the “Buitengaats” 2013 as a whole, the decline in turnover has been revised downwards to 5.7%.123 database). • 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 4.3 Economic trends and entrepreneurship 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 The Dutch economy has been in recession since 2008. In the second quarter of 2013, it information also means that it is not possible to provide a clear picture of a whole sector contracted for the fourth successive quarter. Consumption by Dutch households has also or subsector in some instances.126 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 4.3.1 The effects of the economic crisis 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 • Books period prior to the economic recession (2005–2008) and the period from the start of the The non-subsidised segment of the cultural sector is facing serious difficulties. In 2012, recession (2008–2012). In order to say something about trends over time, the results are turnover in the market for “general books” fell by 6.3% compared to 2011. (This includes presented using indexed figures and annual growth percentages. In all cases, the the turnover from the sale of 1.2 million e-books; if these are not included, the drop in percentage increase or decrease is shown in comparison to a base year, usually 2005; this turnover was 7.3%.) A total of 44.7 million books (i.e. printed books and e-books) were prevents distortion owing to the difference in subsector size. 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

121 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-architect- en-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 119 http://www.cbs.nl/nl-NL/menu/themas/dossiers/conjunctuur/publicaties/artikelen/archief/2013/2013-052-pb.htm (accessed sites were not included. 19 August 2013). 125 In the case of cinemas and art cinemas, only the latter received funding from the municipalities. 120 http://www.kvb.nl/feiten-en-cijfers/kerncijfers (accessed 16 August 2013). Based on SMB/GfK Retail and Technology Benelux 126 That is the case, for example, with the visual arts; here, it was only data on art centres and art purchase arrangements that boeken, 2012. was available for the study. In the case of the film sector, the production side was not covered at all.

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Table 4.2 Average annual increase in attendance and visitor figures, 2005–2012129 • Supply trend in the performing arts subsector

Supply declined in the 2008 to 2012 period, except for cinemas and art cinemas and ------Average annual increase in attendance and visitor figures (in %) 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 2005 - 2008 2008 - 2012 2005 - 2012 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), Cinemas and art cinemas 4,5 6,7 5,8 ...... supply has been decreasing annually by 2% to 2.5%. The decline among commercial VSCD venuesa 1,9 -5,3 -2,3 127 theatre producers (VVTP) has been somewhat larger...... VSCD venuesa 6,3 -3,2 0,7 Table 4.1 Average annual increase in number of performances 2005–2012128 ...... ------Commercial theatre producers (VVTP) 3,2 -10 -4,6 Average annual increase in number of performances (in %) ...... State-funded museums 1,9 7,6 5,1 2005 - 2008 2008 - 2012 2005 - 2012 ...... a ------BNI institutions for performing arts, total 3,9 -1,8 0,6 Dutch films at cinemas and art cinemas -8,4 12,5 7,1 ...... a ...... FPK institutions for performing arts, total 0,4 -3,6 -1,9 VSCD venuesa 2,7 -2,4 -0,2 ...... a ...... Excluding festivals. The figures therefore differ from results published previously. VNPF venuesa -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 BNI institutions for performing arts, totala -0,2 -2,5 -1,5 cinemas and art cinemas (+6.7% per year) that showed an increase. In the case of cinemas ...... a and art cinemas, this was in part due to a rise in the number of multiplexes and the FPK institutions for performing arts, total 2,2 2 2,1 130 ...... success of Dutch films. a Excluding festivals. The figures therefore differ from results published previously. 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 admis- sion). 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

129 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). 127 In ‘t Veld J. et al., Economische ontwikkeling in de cultuursector, 2005–2012 (2013). (Section 0, paragraph 0.4.) 131 The average ticket price calculated in this way is primarily suitable for analysing price changes (and their effects) over time. 128 Idem (Section 0, subsection 0.4). 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”.

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\ > Between 2008 and 2012, ticket prices rose most sharply at VNPF venues (+4% per year), • Festivals136 with the increase even topping that for competing leisure activities (+1.4% per year). This This was the first year when separate consideration was given to the entire market is one reason why attendance at VNPF venues fell since 2008. The price hikes at cinemas (funded and non-funded) and the supply of festivals put on in the Netherlands. In 2012 are due to higher ticket prices for certain performances, for example 3D and IMAX, there were 698 festivals. In total, they covered 3645 days, i.e. ten festival days per although the relatively significant increase in tickets for these performances did not calendar day. Somewhat fewer than half the festivals were one-day events. Music prevent people from attending them. At the state-funded performing arts institutions, festivals dominate (72% of the total) compared to theatre (16%), art (7%), and film ticket prices have, on balance, remained stable in real terms (i.e. have kept up with festivals (4%). Music festivals also dominate in terms of attendance, attracting 66% of the inflation).133 total number of people attending festivals. On the other hand, theatre festivals tended to attract bigger audiences per festival.137 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 • Entrepreneurship and funding mix138 because their ticket prices are still relatively high compared to the publicly funded portion In times of dwindling public resources, the sector finds itself struggling with austerity of the sector.134 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 Table 4.3 Average annual increase in ticket prices in real termsa , 2005–2012135 ------Public Revenuesb Other contributions Average annual increase in ticket prices/“quasi-ticket prices” (in %) fundinga from private fundsc ...... ------2005 - 2008 2008 - 2012 2005 - 2012 State-funded museumsd 62% 29% 9% ------...... Cinemas and art cinemas 0,5 1,7 1,1 ...... BNI institutions for VSCD venuesab 2,6 -1,2 0,5 performing arts 75% 23% 2% ...... VNPF venuesab 12,1 4,0 7,4 FPK institutions for ...... performing arts 63% 33% 4% Commercial theatre producers (VVTP) 0,6 -8,7 -4,9 ...... a Public funding: This comprises contributions from the Ministry of Education, Culture and Science or another State-funded museums 2,5 0,5 1,4 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 b BNI institutions for performing arts, total 0 0 0 audience-generated revenue or revenues from hospitality services...... c Other contributions from private funds: These comprise contributions from private parties who do not receive b FPK institutions for performing arts, total 9,4 -1,4 3,1 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. Competing leisure activities c 1,5 1,4 1,4 ...... a Price corrected for inflation b Excluding festivals. The figures therefore differ from results published previously. c Consumer price index for services, culture and recreation (corrected for general inflation).

136 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. 133 Idem (Section 0, subsection 0.5). 137 In ‘t Veld et al. (2013). (Section 11, subsection 11.2.) 134 Idem (Section 0, subsection 0.5). 138 Idem (Section 13, subsection 13.2). 135 Idem (Section 0, subsection 0.4). 139 FPK, Ministry of Education, Culture and Science (APE/Rebel version).

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\ > • Funding mix: public and private funds Table 4.5 Jobs, self-employed workers and man-years in the cultural sector (2010)143 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 impor- Number Number of Jobs Self-employed Total tance, while commercial revenue and revenue from other private sources has grown more of jobs self-employed in in man-years 140 man-years man-years significant. Nevertheless, public funding remains the most important source of revenue. ------Where the BNI institutions for performing arts are concerned, the funding mix has Total cultural sector 162.830 92.820 124.130 65.943 190.073 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 Arts and cultural heritage 47.550 38.480 32.470 27.525 59.995 ...... change in the funding mix for the FPK institutions in the 2009 to 2012 period. All the Media & entertainment 61.950 21.870 48.330 15.251 63.581 sectors reviewed here have seen an increase in the relative proportion of “other contribu- ...... tions from private funds” in recent years. Commercial revenues are expected to become Creative business services 53.330 32.480 43.320 23.175 66.495 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 Notes: that museum within the group of 23 state-funded museums.141 A further indication is the 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 observed increase in the number of visitors to state-funded museums in recent years. 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. 4.4 Employment Table 4.6 Trend in jobs and number of self-employed workers in the 2004-2010 period144 ------4.4.1 Size of the sector 2004 - 2008 2009 2010 2011 At the end of 2010, the cultural sector had some 256,000 people on its books either as ------Total jobs 8,2% -4,1% -0,4% -1,8% 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 Arts and cultural heritage 17,3% 0,7% -2,4% 1,9% 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 Media & entertainment -4,9% -6,4% -0,1% -0,9% ...... three subsectors listed in Table 4.5. Creative business services 23,6% -4,7% 1,1% -6,2%

• Labor-years ------The economic significance of this work can be expressed by converting the jobs and the Total self-employed workers 37,2% 0,1% 5,5% n.b. 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 Arts and cultural heritage 39,6% 8,0% 5,4% n.b...... subsector was slightly smaller than in the other two subsectors (see Table 4.5). The Media & entertainment 42,4% -5,9% 5,2% n.b. 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 Creative business services 30,7% -1,8% 5,8% n.b. 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 Notes: 142 Growth rates up to and including 2009 cannot be directly compared with those from 2010 because a new Standard worked in that sector. In the cultural sector as a whole, one third of workers were Industrial Classification (SBI 2008) was introduced in 2010. The growth figures for the number of jobs in 2011 are self-employed as opposed to two thirds in paid employment. based on provisional figures.

140 Idem (Section 13, subsection 13.2.1). 141 Idem (Section 13, subsection 13.5). 142 Based on Statistics Netherlands figures for 2010: http://statline.cbs.nl/StatWeb/publication/?VW=T&DM=SLNL&PA=80150N 143 Figures supplied by Statistics Netherlands, July 2013. 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 144 Idem. 2013)

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\ > • Fewer employees, more self-employed persons 4.4.2 Match between education and labour market146 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 Figure 4.5 Unemployment among graduates (full-time) of universities of applied sciences for 2011 indicate a further fall in the number of jobs. The number of self-employed (as percentages), 18 months after graduation workers in the sector grew in 2010 by 5.5% compared to 2009 (see Table 4.6). 14,00% 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 12,00% 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’ 10,00% 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 8,00% of work in the creative business services subsector (Table 4.7). No figures for self- employed workers are yet available for 2011. 6,00%

4,00% Table 4.7 Growth in man-years self-employed persons in the period 2009–2010145 ------2009 2010 Growth 2,00% Self-employed Self-employed 2009 – 2010 in in 0,00% Universities Agricultural Economics Healthcare Teaching Social and Technical Arts man-years man-years of applied community ------sciences, total work Total cultural sector 65.710 65.943 0,4% ...... 2008 2009 2010 2011 2012 • Arts and cultural heritage 27.570 27.525 -0,2% ...... • Media & entertainment 15.370 15.251 -0,8% 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” • Creative business services 22.770 23.175 1,8% students). The largest sector within professional arts education is design, which accounts ...... for three out of ten students enrolled in arts education programmes.

• 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 agricul- tural and economics programmes. There are major differences, however, within profes- sional 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 Idem. 146 www.cijfer.hbo-raad.nl (accessed 18 July 2013). 147 HBO-monitor 2012.

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...... \ > over the years, meaning that the figures for any single year are not necessarily represent- Sector plan ative. It is clear, however, that unemployment among graduates of professional arts In 2012, the sector plan for professional arts education [Sectorplan Kunstvakopleidingen, education programmes has increased in recent years, as it has among all graduates of / > KUO] went into effect for a four-year period. The plan provides for a reduction in the universities of applied sciences.148 intake of students (a decrease of 1383 students) and seeks to improve quality (for example In 2012, a new graduate from a cultural programme spent three to ten months looking for by investing in entrepreneurship, preparatory courses, research, and the number of a job. A research university graduate with the same subject cluster spent longer, namely Master’s degree courses). Under the plan, the universities of applied sciences are working between six and twelve months.149 In 2012, approximately six out of ten graduates of a on developing more distinct identities and a clearer division of responsibilities. 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 The first progress report shows that there has already been an across-the-board their training and their professional work as being good/satisfactory. That is lower than reduction in the number of students enrolled in the courses concerned, resulting in a total the average for universities of applied sciences overall, namely 76%.150 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 • The “hybrid artist” view to developing joint research themes. Finally, steps have been taken to improve The study De Hybride Kunstenaar [The Hybrid Artist] examined the changing professional programmes of training for art teachers and as well as the quality of those teachers. The pursuits of visual artists in Flanders and the Netherlands since 1975.151 It showed that no set of competencies and the knowledge base have been developed and the professional fewer than 86% of the visual artists surveyed combined their independent artistic output profile will be revised in the course of 2014. 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.

148 HBO-monitor 2012. 149 Studie en Werk 2013, SEO onderzoek, pp. 24–25. 150 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.

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4.5 Philanthropy Table 4.9 Donations to culture as a percentage of total donations to good causes 1995–2011158 ------1995 1997 1999 2001 2003 2005 2007 2009 2011 ------4.5.1 Trends in donations to the arts and culture Total € 2.279 € 2.163 € 3.422 € 3.615 € 4.924 € 4.376 € 4.559 € 4.707 € 4.252 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 Churches and ideologies € 587 € 510 € 490 € 750 € 938 € 773 € 1.001 € 891 € 806 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 Health € 411 € 290 € 640 € 406 € 589 € 477 € 479 € 644 € 487 ...... 2011. International aid € 361 € 299 € 540 € 531 € 469 € 742 € 545 € 572 € 569 ...... Table 4.8 Trend in donations 1995–2011157 Environment, nature ------conservation € 204 € 183 € 308 € 251 € 309 € 356 € 375 € 435 € 376 Trend 1995 – 2011 ...... ------Education and research € 58 € 83 € 232 € 125 € 301 € 277 € 295 € 285 € 150 Total 87% ...... Culture € 83 € 87 € 165 € 335 € 610 € 326 € 386 € 454 € 287 Churches and philosophies of life 37% ...... Sport and recreation € 246 € 410 € 578 € 686 € 930 € 686 € 687 € 715 € 702 Health 18% ...... Society/social objectives € 283 € 257 € 422 € 373 € 555 € 522 € 575 € 458 € 525 International aid 58% ...... Other € 46 € 44 € 47 € 158 € 223 € 220 € 216 € 253 € 349 Environment, nature ...... conservation, animal welfare 84% Percentage culture 4% 4% 5% 9% 12% 7% 8% 10% 7% ...... Education and research 159% Amounts in millions of euros ...... Culture 246% ...... Sport and recreation 185% 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 Society and social objectives 86% businesses and lotteries. Almost all sectors saw donations decline in 2011 as compared to ...... Other 659% 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 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. 158 Idem., p. 12. Adaptation of table.

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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 2011 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 2009 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 2007 make more use of visitor donations.

2005 • Increasing popularity of crowdfunding In addition to traditional philanthropy as outlined above, crowdfunding is becoming 2003 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 2001 (private) financiers, rather than taking out a single large loan from a bank. Since the 1999 austerity measures were announced in 2011, crowdfunding is being used more and more frequently to finance cultural initiatives. Investors also increasingly view crowdfunding as 162 1997 a serious revenue model. One recent example of successful crowdfunding was the exhibition The Road to Van Eyck at the Boijmans Van Beuningen Museum in Rotterdam. 1995 The exhibition became possible because the museum was able to raise enough money through crowdfunding.163 Another example is “Museumpark Orientalis”, which was saved € 0 € 100 € 200 € 300 € 400 € 500 € 600 € 700 from closure when crowdfunding raised the sum of 700,000 euros.

Households Legacies Funds Businesses Loeries millions > • Proceeds from crowdfunding The past few years have seen the first studies of crowdfunding. TheCrowdfunding Industry Report looked at the proceeds from crowdfunding worldwide between 2009 and 2012.164 • Fewer donations from businesses The report showed that in 2011 crowdfunding had raised 1.5 billion dollars, which had Businesses have traditionally donated the most to the arts and culture. The sharp fall in been used to finance more than a million projects. According to the study, 29 crowdfund- the number of donations in 2011 was in fact largely due to there being fewer donations ing platforms operate in the Netherlands, putting this country third in the world after the from businesses. In 2009, businesses donated 296 million euros, but by 2011 that figure United States and the United Kingdom. In the Netherlands, 14 million euros was financed had fallen to 124 million euros, a decline of some 58%. Nevertheless, businesses are still by means of crowdfunding in 2012, whereas only 4 million euros had been collected in the major source of donations to the arts and culture. In 2011, households and funds also 2010. In 2011, 1.9 million euros generated by crowdfunding went to creative projects.165 A donated less to the arts and culture, respectively 21% and 9% less than in 2009. The sharp total of 570 projects and businesses were financed, somewhat fewer than half of which fall in 2011 appears to be associated with the continuing economic crisis. Businesses also were creative projects.166 Crowdfunding is gaining ground in the cultural sector, but the appear to be deciding on an ad hoc basis whether to donate to a particular cause, leading significance of this source of funding will need to become clearer in the next few years. 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.

161 Idem. 162 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 159 Schuyt, T., et al. (2013). platforms in the Netherlands. Tweets and the researchers’ personal knowledge and contacts also provided information 160 Idem. about crowdfunding projects outside the scope of the platforms.

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• 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 ‘Private donations’ 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. Outset Contemporary Art Fund is an international philanthropic organisation that The campaign focuses on the one hand on encouraging the practice of donation among supports new art. It arranges private contributions to public museums and art projects. the public, in part by familiarising them with the provisions of the Gift and Inheritance Tax Outset Netherlands was launched in March 2012, an event marked by two donations to Act. On the other hand, it makes cultural institutions aware of opportunities to generate Dutch museum collections. The Municipal Museum of The Hague received Untitled (Miss revenue from philanthropic sources.168 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

“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.”

167 Interview with Gwen Neumann, 12 July 2013. 168 http://www.daargeefjeom.nl/

84 / 85 \ < \ CULTURE AT A GLANCE 5 The publicly funded sectors

2013 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

169 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.

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\ > 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 municipali- ties.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 very large sample rather than a comprehensive overview. We provided an initial sketch in the national cultural funds and the “G9” cities173 based on the data already collected by Culture at a glance 2012, but at that point the municipalities had not yet taken all their the parties. The data is derived from the annual reports and funding applications that decisions regarding the period from 2013 to 2016. 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 What does the publicly funded cultural landscape look like for the national government order to analyse the publicly funded cultural sector in terms of supply, distribution, and and the G9 in 2013? Table 5.1 provides an overview of numbers of institutions and the reach. In the longer term, this initiative can also play an important role in reducing the budget allocated in 2012 and 2013. The year 2012 was the end of the previous funding institution’s administrative burden, for example by implementing a uniform system of period (2009–2012) and 2013 the beginning of the new period (2013–2016). 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 The municipalities differ most when comparing the present toCulture at a glance 2012, give a good impression of the changes that are taking place in the publicly funded cultural owing to the changes in final allocation. That applies primarily to the number of institu- landscape. tions. 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 • The present average of 14%. The City of Amsterdam has allocated funding to a larger number of Decision-making on the applications for multi-year funding in the cultural sector has institutions. Among the other municipalities, the budgets for cultural institutions have been completed. This makes it possible to provide an overview of the cultural institutions fallen slightly. In the case of those municipalities too, the number of institutions has that receive funding from the national government and the four major cities (the G4). This remained stable or increased slightly. In total, the funding awarded to institutions within year, the G9 cities provided figures in addition to their G4 counterparts. The figures for the G9 receiving long-term support fell by about 11%, whereas the number of institutions “non-G4 cities” within the G9 – referred to below as the “G5 cities” – can be regarded as a fell by only 2.4%.

171 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.

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• Past and present: little change Table 5.1 Past/future table showing institutions receiving multi-year funding in 2012–2013 from There has been a major increase in the number of cultural institutions receiving four-year the national government, the cultural funds, and the G9 cities state funding since 1997. In fact, the increase was so large that it led to a large number of (funding amounts in millions of euros) ------institutions being transferred in 2006 to the Performing Arts Fund (FPK) and the Cultural Number of Funding Number of Trend in Amount Change in Participation Fund (FCP). The institutions receiving multi-year funding are currently institutions 2012 allocations number of allocated funding distributed across the Basis National Infrastructure (84 institutions)174 and six funds (120 2012 2013 institutions (%) 2013 amount (%) institutions). The basic structure funded by the national government has remained ------virtually the same. Some 110 institutions now (2013–2016) funded by the national National government government already received funding in 1997. Eight years ago, that was 170 out of the (BNI) 172 404 86 -51,2 327,0 -19,1 ------total of 204 institutions receiving multi-year funding in 2013. The state funding system • Performing arts displays a high degree of continuity. That is certainly the case for the institutions making Fund NL 118 39,2 82 -31,3 25,4 -35,2 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 • Cultural Participation Fund 27 5,0 18 -33,3 3,0 -40,0 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 unknown 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 • Dutch Foundation for therefore kept pace with inflation to a greater or lesser extent. During that period, Literature 3 8 166,7 1,2 unknown ------however, institutions faced very few, if any, any austerity measures. The institutions that Funds 151a unknown 121 -20,5 33,2 unknown 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 d • Amsterdam 140 100,1 146 4,3 82,9 -17,2 in absolute terms but the growth in turnover was slower than inflation. The funded ...... • The Hague 64 61,9 64 0 51,6 -16,6 institutions within the G9 had a joint turnover of just under 1.4 billion euros in 2012...... • Utrecht 63 31,9 63 0 33,2c 4,1 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 • Rotterdam 93 90,4 76 -18,3 77,6 -14,2 ------period 2009–2012 (2011 is 100) G4 360 284,4 349 - 2,5 245,3 -13,7 110,00 ------• Groningen 26 17,8 27 3,8 17,6 -1,1 ...... 108,00 • Enschede 15 18,1 15 0 17,9 -1,1 ...... 106,00 • Arnhem 19 16,6 19 0 16,3 -1,8 ...... 104,00 • Eindhoven 21 21 22 4,8 20,5 -2,4 ...... • Maastricht 19 18,5 17 -10,5 17,8 -3,8 102,00 ------G4 institutions G9 460 376,3 449 -2,4 335,4 -10,9 100,00 ------BNI institutions a. Does not include 29 institutions funded by the Mondriaan Fund/Foundation for Visual Arts, Design and Architecture 98,00 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 FPK and FCP institutions hand and the municipalities on the other “share” institutions. 96,00 c. For comparison purposes, media institutions covered under the culture budget have been disregarded. Although it is still a municipal G5 institutions service, the Vredenburg Music Centre (Utrecht) is comparable, however, and has therefore been included in the overview. 94,00 d. Combined annual reports make it necessary to derive the number of institutions (140) from the accounting data for 135 institutions. 2009 2010 2011 2012

174 This concerns 86 grants for the BNI and 121 for the funds. 175 Institutions whose activities target the public, for example museums and theatre production companies.

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\ > 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 • Self-generated revenue 20 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 176 10 total long-term funding) for 2012 by funding body and discipline. There are striking differences between the institutions in terms of their average earning capacity. That 0 difference varies from more than 10% to well over 100%. Self-generated revenue can be Visual arts as much as double, triple, or even quadruple the amount received in long-term funding. Creative industry Dance On average, the institutions making up the Basis National Infrastructure generated a Dance, Youth smaller percentage of revenue themselves than the institutions covered by the Film Performing Arts Fund and the G4 cities. This may be due to the composition of the Basis Museums National Infrastructure or because the institutions that it comprises are subject to more Music, Youth or different requirements. It is unlikely that the combined effect (a large number of Music, ... institutions in sectors where it is difficult to generate a lot of revenue) explains the lower Music, other percentage of self-generated revenue. Earning capacity for each discipline is also often Other lower than or the same as that of the institutions covered by the other funding bodies. Roerdam Theatre

Groningen Theatre, Youth

176 The City of Amsterdam applies a different definition for the percentage of self-generated revenue. Amsterdam

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Table 5.2 Self-generated revenuea in 2012 by discipline for the various funding bodies 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. ------Situation for each funding------body It makes no difference whether they are covered by the Basis National Infrastructure or National FPK G4 G5 government 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 Creative industry ...... self-generated revenue. The percentages generated by theatre companies, other • Architecture 38% 45% 75% museums and world/pop/jazz music covered under the Basis National Infrastructure are ...... • New media 64% 67% 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 • Design 17% 61% ------the Music (Youth) category is mainly due to the Princess Christina Competition. The Performing arts ethnological and natural history museums are notable for the small percentage of ...... • Dance, General 25% 48% 39% 54% self-generated revenue in 2012...... • Dance, Ballet 47% ...... • Comparison with 2009: more turnover, lower percentages of self-generated revenue • Dance, Contemporary/Modern 27% 35% 29% 29% ...... Compared to 2009, the institutions making up the Basis National Infrastructure had • Dance, Youth 39% 37% considerably more turnover, but the average percentage of self-generated revenue has ...... • Dance, World Dance/Urban 54% 57% 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 consider- • Music, General 98%b 61% 86% 181% ...... ably larger percentage of their own revenue in 2011 than they did in 2012. The jump in • Music, Youth 238% ...... 2011 came just prior to the initial round of applications for the Basis National • Music, Classical ensembles 88% 90% 456%c Infrastructure 2013–2016 and the higher threshold requirement for self-generated ...... • Music, Musical/operetta 87% 87% 62% revenue. The FPK institutions showed an improvement in the percentage of self- ...... generated revenue compared to 2009. • Music, Opera/music theatre 33% 80% 48% 21% ...... • Music, Pop/Jazz/World Music 60% 125% 77% 92% ...... Figure 5.4 shows the trend in self-generated revenue for all the institutions funded by • Music, Symphony orchestras 30% 44% 20% national government and the G9 cities. There has been enormous pressure on the ...... • Theatre, General 38% 51% 43% 25% 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 • Theatre, Youth 26% 9% 75% 13% ------self-generated revenue of the dance institutions has grown sharply (except in the case of Museums ...... youth dance). Theatre companies also saw considerable growth in the percentage of • Cultural heritage 72% 75% 27% self-generated revenue. Especially those covered under the Performing Arts Fund and in ...... • Historical 43% 31% 70% 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 • Art 139% 86% 65% ...... self-generated revenue of the classical music subsector is under pressure, in particular • Natural history 14% 93% 37% ...... that of music ensembles covered by the Performing Arts Fund and in the G4 cities. By • Other museums 22% 66% contrast, music festivals and competitions are doing well. On average, this translates into ...... • Ethnology 13% 148% 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 • Science and technology 34% ------among municipal museums. State-funded museums also had a slightly lower percentage Final average 43% 60% 57% 35% of self-generated revenue in 2012 than in 2009. ------a 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.

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Figure 5.3 Trend in percentage of self-generated revenue by funding body, 2009–2012 • Basis National Infrastructure : results under greater pressure (2009 = 100): Basis National Infrastructure , FPK and G9. 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 institu- 120,00 tions 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 110,00 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, 100,00 there are institutions in virtually all sectors that are unable to put on the agreed number BNI of performances. If we also consider audience numbers, the picture in fact becomes

90,00 FPK/FCP 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. 80,00 G4

G5 During the 2005–2008 funding period, eight institutions were penalised for putting on 70,00 too few performances/concerts. When a sanction is imposed, the degree of failure to 2009 2010 2011 2012 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 Percentage of self-generated revenue by institutions covered under Basis National Infrastructure and the cultural only a small number of institutions had had to be penalised. This particular penalty can funds is based on total long-term funding; for institutions in the G9 cities, percentage is based on total funding. This also be especially onerous for institutions that are already struggling. The reason for the difference is relatively insignificant when comparing indexed figures. Figures for G5 only available for 2011 and 2012. 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 Figure 5.4 Trend in percentage of self-generated revenue by discipline, 2009–2012 (2009 = 100): achieving the predetermined targets. Basis National Infrastructure , FPK and G9. Table 5.3 Institutions covered in the Basis National Infrastructure (2005–2008 and 2009–2012

140 funding periods) that failed to achieve their targets.

Dance 120 red = number of concerts/performances/exhibitions Music blue = public outreach concerts/performances/exhibitions 100 Theatre ------failure to meet targets, in % 80 Museums ------0-5% > 5% of which Total number Total number Creative industry > 15% of institutions of institutions a 60 failing to meet Total targets 40 ------2009 2010 2011 2012 2005-2008 unknown 8 10 unknown unknown 320 ...... 2009-2012 23 15 30 24 30 16 53 39 149 ------a excluding the theatre production centres for the performing arts [productiehuizen] and sector institutions

177 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.

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\ > Table 5.3 shows how many institutions score below the agreed target and to what degree The type of productions put on at the venues is also changing. Insiders say that the on two indicators (number of performances and attendance). The second column shows number of “high-risk”, large-auditorium productions seems to have fallen. It is important the number of institutions that scored 0–5% below target on these indicators. In the to investigate and track trends in new production forms, not only the repertoire itself, but 2009–2012 funding period, 24 institutions had attendance figures more than 5% lower also how accessible productions for audiences. After all, not every interpretation of than budgeted; of these 24, 16 had attendance figures more than 15% below target. The Chekhov is the same. percentages are calculated by comparing targets with actual results. • Provocative or pleasing • Performance venues Het gesprek over de programmering van het podiumkunstenaanbod dient in de eerste It is Attendance at the publicly funded performance venues in the G4 remained almost the the performance venues and the funded and non-funded producers that should be discussing­ same over the past four years, falling slightly from 5.6 million in 2009 to 5.5 million in the issue of programming in the performing arts sector. They are already doing so, for 2012. The cities of The Hague (+6%) and Rotterdam (+3%) did somewhat better than example during the Provocative or Pleasing [Prikkelen of pleasen] debates at the Balie cultural average. Amsterdam and Utrecht did somewhat less well (down about 3%). The above centre in Amsterdam and at this year’s VSCD conference. The Performing Arts Fund and the percentages cannot approximate the trend in total attendance figures at a particular city’s Ministry of Education, Culture and Science are keeping track of trends in the balance performance venues, but they do offer a picture of attendance at the publicly funded between supply and demand in the performing arts. It is also important for the national performance venues. 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 5.5 State of play in the sectors therefore increasingly staging performances outside conventional theatres and concert halls. Performances that used to be staged mainly at festivals are now being taken “on This section describes the artistic/cultural and organisational trends in the various arts location”. More and more theatrical performances are being staged out of doors, in office disciplines and subsectors and the results achieved by all institutions that received buildings or in factories. Opera companies and orchestras are also performing away from funding in the context of the Basis National Infrastructure 2009–2012. The results of the the theatre or concert hall. Operas and concerts are shown live at cinemas, for example, institutions within the Basis National Infrastructure and those receiving funding from the or on a big screen in a park. Other initiatives are also making the performing arts more Performing Arts Fund is summarised in Tables B, C, and D in the Appendix to Section 5.178 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] 5.5.1 Trends in the performing arts gave viewers a behind-the-scenes look at the Royal Concertgebouw Orchestra, while The downward economic trend would appear to be having an impact on the performing television programmes such as So You Think You Can Dance and The Ultimate Dance Battle are arts, particularly in the commercial segment. Musicals, for example, are attracting smaller making choreographers from the funded circuit into household names. Television is audiences and the number of performances put on at theatres is falling. The role of therefore making it possible for the performing arts to reach a significant audience (see publicly funded productions at performance venues is also changing. Companies are also Section 3 about culture and the media). finding it harder to market their performances and concerts because theatres and performance venues are taking fewer risks. That impression is reinforced by producers’ • More commercial productions for youth theatre reports that performance venues are paying smaller buy-out fees than previously179 and Publicly funded youth theatre in the Netherlands still has a good reputation abroad and that the number of “share-of-take” arrangements are on the rise.180 There are also signs can be seen all over the world. In the past few years, a number of publicly funded Dutch from within the sector and the Performing Arts Fund that the performance venues’ youth theatre companies have staged productions on Broadway. At the same time, programming budgets are under pressure. 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

178 The results as shown in Section 4.3.1 are based on data analysis for panels (of institutions) that have remained stable over conventional theatres to performing at schools or other venues. Last year saw the first time. It is therefore possible that some of the figures in this section do not match up perfectly with the figures shown in theatre marathon for young people. The Toneelmakerij – a theatre company for children 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). and teenagers based in Amsterdam – staged Mehmet De Veroveraar [Mehmet the Conqueror] in 179 A fee that the performance venue pays the performer for the performance, regardless of the amount of audience-generated a factory with an oriental decor. Performances are also being given in mobile theatres. revenue. 180 An arrangement for audience-generated revenue to be shared out between the performance venue and the performer.

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\ > • Talent development The Ministry of Education, Culture and Science and the cultural funds are monitoring how Talent development is extremely important for a dynamic sector and for the Netherlands’ talented young people are finding their way around the new structure. In doing so, they international stature. Even more than in the past, the major performing arts companies are looking at the various stages that a talented individual goes through in his or her have been tasked by the Ministry of Education, Culture and Science with guiding talented development. The Ministry and the Council for Culture [Raad voor Cultuur] are keeping young people. At first glance, the companies within the Basis National Infrastructure track of the trends in this area. 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 • Sector organisations as important discussion partner talented individuals. The Performing Arts Fund’s project funding scheme is also open to The sector organisations are an important discussion partner for the Ministry of culture makers (directors, choreographers) who are just starting out on their professional Education, Culture and Science as it develops its policy. In order to promote the interests career. As of this year, they can apply for funding – in any of the performing arts – as a of the performing arts sector as effectively as possible, the sector must speak with a new culture maker. Of the 37 applications considered for the first round of the New Culture single voice as far as possible. At a time when the relationship between supply and Makers scheme [Nieuwe Makers], nine were successful. They can get started on their demand is under pressure, the performance venues (the demand side) and the producers development programme, which they have set up under the guidance of various (the supply side) would do well to coordinate and collaborate more closely. organisations. The successful applicants included various categories of culture makers with distinct development programmes: both artists’ collectives and individual artists, It is a matter of concern that organisation density is declining within the performing arts. some who are at the end of their “start-up phase”, and others who are just starting out The Dutch Performing Arts Bureau [Bureau Promotie Podiumkunsten] was disbanded on 1 on their professional development. Some focus entirely on the work of actual creation, October 2013 because its business model had proved unviable. Many members of the while others are also active as actors or dancers. Talent development can thus take many Netherlands Association of Theatres and Concert Halls (NAPK) – including orchestras, forms, geared to the aims and ambitions of the new culture maker and with critical and theatre companies, and dance companies – cancelled their membership with effect from 1 constructive guidance from professional organisations. The great majority of applications January 2014. They notified the board of the NAPK that they were dissatisfied with the submitted came from new culture makers in theatre and dance, with applications from association. The NAPK is currently investigating whether it can operate as a network that other sectors such as music or music theatre lagging behind for now. It will become clear runs an online platform for communication and knowledge and information sharing during the following round of applications whether organisations in these sectors are between members. taking advantage of the scheme.

The cultural funds have also joined forces to develop a new programme offering 5.5.2 Results achieved by performing arts institutions within the exceptionally talented people the opportunity to produce new work under the guidance Basis National Infrastructure 2009–2012 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 • Orchestras (10 institutions) committee (with scouts). 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 In the current period, the 21 production centres for the performing arts [productiehuizen] sizes 11% smaller than projected. The orchestras gave an average of 55% of their concerts that were funded under the Basis National Infrastructure 2009–2012 are no longer in their home city, which gave them 62% of their total audience. They gave 2% fewer receiving any funding from the Ministry of Education, Culture and Science (they previously concerts in their home city than planned, and their audience was 9% smaller there. received 11 million euros). Of those 21 institutions, 19 are still active. In 2013, six are Outside their home city, the actual figures deviate somewhat more from the prognosis. receiving multi-year funding for their activities from the Performing Arts Fund (2 million With attendance at somewhat more than 50,000, audience sizes in the home city euros), and 14 are receiving funding (6.1 million euros) from local authorities. 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 The budget figures of 14 production centres for the performing arts[productiehuizen ] have be attributed to the lower number of performances. That number fell in 2012 by 4% and been published. For those 14, total turnover (actual 2012 results compared to 2013 budget audience sizes by 15%. 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.

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\ > • More concerts for schools, fewer schoolchildren The orchestras’ plans were highly ambitious but did not lead to an increase in the number • Dance companies (7 institutions) of concerts. The number of performances for schools did rise, however, with an average of The results achieved by the dance companies funded under the Basis National 90% more concerts than planned. In absolute numbers, the orchestras gave 310 concerts in Infrastructure exceeded the prognoses that had been submitted on a number of different 2012. Although they gave more concerts for schools, that does not mean that more children indicators. The total number of performances was 23.8% higher than had been estimated. attended those concerts. The average size of the audience for a school concert fell between The number of school performances and the number of children attending those 2009 and 2012 from 552 to 330 pupils. 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 • Opera companies (3 institutions) average. On balance, fewer people attended both regular and school performances. Each The opera companies had better results, on average, than estimated in their plans. The of the seven dance companies has a unique identity and there are consequently major total number of performances was 9.7% higher than forecast, while audiences were 6% differences between them, including in their targets and actual results. With one smaller. An increase in the number of performances did not therefore produce a directly exception, all the companies focus on performing in their home city. If we consider the proportionate increase in the number of operagoers. Between 2009 and 2012, new averages, then we see that the dance companies gave some 30% of their performances in productions accounted for some 75% of the total number of productions, with the rest their home city, where they also attract almost 40% of their total audience. 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, • Youth dance (4 institutions) each opera company has done as well or better than the prognosis. The four youth dance companies staged more productions than they had forecast, gave • Differences between opera companies more performances, and attracted bigger audiences. The number of productions staged The number of performances in the opera companies’ home cities accounted for 58% of was 81% higher and the number of performances (both regular and for schools) 117% the total. The rest took place elsewhere, with 14% being staged abroad. Performances in higher than planned. The number of attendees was also 42% higher but did not keep pace the home cities accounted for 77% of the total. Audience numbers for each performance with the rise in the number of productions and performances. Unlike other sectors, both varied from one company to the next because of their differing sizes. The total number of the number of performances and the number of people attending are distributed equally attendees per performance fell in 2012 by 1% and the total number of performances by 13%. between the companies’ home city, other regions, and foreign locations. This applies both to regular and school performances. • Theatre companies (9 institutions) The theatre companies staged a considerable number of productions in the most recent • Performing arts festivals (6 institutions) funding period. That number was 30% higher than planned, with the number of perfor- The six performing arts festivals together had some 1.8 million visitors within the cycle of mances almost a quarter higher. In total, the nine companies gave almost 2000 perfor- regular performances. On average, there were 256 performances each year. The festivals mances over the four years. The number of theatregoers was 3.8% higher than targeted. are difficult to compare because they differ greatly in size, genre, and identity. Audience-generated revenue was notably higher, increasing from 7.3 million euros in 2009 Interestingly, the relatively small festivals had more audience-generated revenue in 2012 to 10.3 million euros in 2012. Also notable is that audience sizes abroad more than doubled, than in 2011, whereas the two biggest festivals saw such revenue decline. For all the from almost 24,000 in 2009 to more than 49,000 in 2012. festivals, overall self-generated revenue increased in 2012 compared to 2009.

• Youth theatre companies (9 institutions) • Theatre production centres for the performing arts [productiehuizen] (21 institutions) Between 2009 and 2012, the nine youth theatre companies put on 26.2% more productions Taken as a group, the 21 production centres for the performing arts [productiehuizen] than targeted. The number of performances increased by 19.7% and there were 6.5% more staged 55% more productions than planned. They gave 23% more performances and attendees than estimated. The youth theatre companies focus on school audiences, as can their audience grew by 44%. Strikingly, audience numbers increased in 2012 compared to be seen by the number of performances staged for schools and visits to schools. Between 2011 but self-generated revenue fell. The number of productions and co-productions 2009 and 2012, these were virtually the same as the total number of performances and increased. Audience figures abroad fell in the past two years, but the companies gave visits. The trend for commercial productions, on the other hand, was downward, with both more performances abroad than in previous years. Here too, there are differences audience numbers and number of performances declining over the past two years. The between the various production centres for the performing arts [productiehuizen], with number of performances abroad increased, from 81 in 2009 to 126 in 2012. Audiences some focusing more on performing abroad than others. 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.

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5.5.3 Trends at the museums Maritime Museum, Museum De Fundatie, and the Friesland Museum – has mitigated the impact The Netherlands has a large number of museums. They are located all across the country of the austerity measures. Refurbishment projects such as these attract a great deal of and range from large to small and from general to specialist. Some are small museums attention and additional visitors, certainly during the first year after reopening. The effects of that survive thanks to the enthusiasm of private parties; others house prestigious the austerity measures will become apparent, however, in the course of the present funding collections of worldwide renown. Forty-nine of these museums are state-funded period. It will then become clear to what extent the museums will need to cut down on their institutions; of these, 31 are part of the Basis National Infrastructure and 18 are funded by amenities and activities, and what impact that will have on quality and on public interest. other ministries. There is great public interest in the museums and that interest has The Ministry of Education, Culture and Science and the museums themselves will monitor remained stable in recent years. Together, they welcome some 20 million visitors a year, these trends during the current funding period. The museum sector is making increasing use including 4.5 million under the age of 18. In 2012, 900,000 people had a National Museum of sector-specific information and benchmarking. It can do so thanks to its professional- Pass [Museumkaart] (more than 100,000 more than in 2011). Of the ten million foreign grade organisation and the efforts of the two sector organisations, the Dutch Museums tourists who come to the Netherlands each year, 40% visit one or more museums here. Association (NMV) and the Association of State-funded Museums (VRM). These two organi- Dutch collections and museums also score high marks internationally with successful sations have decided to merge with effect from 1 January 2014. exhibitions abroad.181 5.5.4 Results achieved by museums within the Basis National Infrastructure • Professional development and collaboration 2009–2012 (30 institutions) The Dutch museums make an enormous contribution to knowledge generation, to Total turnover of the museums within the Basic and Constructive Culture came to some 310 historical awareness, and to national identity. In recent years, they have worked both million euros for 2012. Of that turnover, 71% was made up of public funding and 29% of individually and collectively to demonstrate the importance of museums for Dutch self-generated revenue. There are major differences between individual institutions. The Van society. Examples of their efforts include the More Than Worth [Meer dan waard] initiatives182 Gogh Museum, for example, is able to generate no less than 70% of its total revenue on its and the advisory report by the Asscher-Vonk Committee on Museums for Tomorrow [Musea own. There appears to be a slight positive correlation between the size of the turnover and voor Morgen].183 The museums have become more professional in recent years, both in the proportion of self-generated revenue. This does not mean, however, that there is a causal business, commercially and in their actual work. One of their priorities was to commit to connection between the size of the turnover and the museum’s self-generated revenue. All education and promote museum visits by children. There has also been more interest in the state-funded museums had a good year, certainly in terms of visitor numbers, which collaboration between museums. That interest expressed itself in the Asscher-Vonk increased by 600,000 from 2010 to 2011 and by 200,000 in 2012. Despite the increase in Committee’s advisory reports and the follow-up action by the museums themselves. New visitor-generated revenue, the state-funded museums saw a significant drop in their total partnerships have been set up or expanded (more rapidly), for example the collaboration self-generated income, amounting in the last year to a decline of 15 million euros.184 between the museums in Amsterdam on marketing. Collaboration with organisations Virtually all the state-funded museums achieved better results in 2009–2012 than they had outside the museums sector is also growing. Examples include the recent partnership projected. With public funding amounting to 30 euros per visitor, the sector was one of three with between the Zeeuws Museum (in Middelburg) and the Willem de Kooning Academy; the lowest per-visitor funding for 2012. That is primarily due to a number of major “crowd-pleas- between the Network of European Museum Organisations (NEMO) and Amsterdam ers” such as the Van Gogh Museum and the Netherlands Maritime Museum. Viewed separately, Airport Schiphol; and the long-term collaboration between the Netherlands Museums the state-funded museums display a more diffuse picture. There is a difference of some 80 euros Association (NMV) and the ANWB motoring organisation. between the highest and the lowest per-visitor funding.

• Future challenges 5.5.5 Trends in the visual arts Despite their dynamic nature and their successes, Dutch museums are facing a number of The visual arts have raised their profile and become more accessible in recent years. Works challenges. The public budgets available to them are under pressure; at the same time, are exhibited in a greater variety of locations and often have a specific character and are the economic crisis has led to a drop in sponsorship. As competition in the leisure market intended for a specific target group. They are displayed not only at contemporary art centres, increases, museums will need to keep developing. Museum visitors will not notice the artist initiatives, post-graduate institutions, and museums but also at biennales, in public decline in their budgets immediately; the long-term nature of museum planning means areas, and at festivals. It is also striking that the number of specialist art fairs has increased, that the consequences will only become apparent gradually. For many visitors, the recent for example those focusing on photography or drawing, or on specific target groups. reopening of a considerable number of museums – for example the Netherlands Crowdfunding and online art sales have also increased the public’s involvement in the visual arts and made it more visible.

181 De Museumbrief. Samen werken, samen sterker (10 June 2013). 182 DSP group, Meer dan waard. De maatschappelijke waarde van Musea (2011). 184 The study discussed in Section 4.3.4 comes to a different conclusion. It considered a panel of 23 museums, while here we consider 183 Advies Commissie Asscher-Vonk, Musea voor Morgen (2012). all 30 state-funded museums.

104 / 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 commer- cially, 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, Van Eyck Mirror 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 Van Eyck Mirror - Products and Concepts was set up in March 2013 by the Jan van Eyck Academy, promoting, reinforcing and maintaining national and international networks. 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 • Interest groups speak out Bloksma heads Van Eyck Mirror - Products and Concepts and specialises in the social legitimacy A number of sector organisations and interest groups are active in the visual arts sector. of cultural institutions. Her work involves developing cultural projects and concepts that link These range from the Netherlands Museums Association (NMV), the Association of government, the private sector, and cultural institutions. State-funded Museums (VRM) and the Netherlands Gallery Association (NGA) to the Professional Association of Visual Artists (BBK), De Zaak Nu, the Professional Association “Van Eyck Mirror reveals the social and economic significance of culture to the world, the way a of Artists (BOK), and the Visual Arts Platform. These organisations have recently been well-polished mirror would do. Art does not exist outside the world; it is part of the world and is speaking out more. That is a positive development because they draw attention to what there for the world. 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 We are constantly in search of interesting partnerships with businesses and civil-society organisa- how the organisations relate to one another. It is therefore vital for the sector-specific tions. Those partnerships provide the basis for new cultural projects, concepts and products. What organisations and interest groups to be aware of one another and to coordinate their we want Van Eyck Mirror to do is connect up the talent of our participants, the lab facilities, and activities. This will ensure a clear point of contact within the sector and allow them to our staff’s professional support with social and economic issues. speak with one voice.

One of our first projects involves the Province of Limburg, the social innovation think tank 5.5.6 Results achieved by visual arts institutions within the Basis National Kennisland, and Maastricht University. Van Eyck Mirror is joining with the Province of Limburg to Infrastructure 2009–2012 investigate government’s legitimacy today. Modern government must make use of innovative In 2009–2012, the self-generated revenue of the eleven contemporary art centres within communication concepts and services. Artists and cultural institutions are the obvious partners the Basis National Infrastructure fell from 1.6 million euros to 1.5 million euros. That fall with which to investigate this question. They instinctively search for forms and products that can cannot be attributed to visitor numbers, which remained approximately the same at tell a story and make social problems visible. One of the aims of Van Eyck Mirror is to connect the 307,000. This trend led to a drop in visitor-generated revenue of 22% per visitor in 2012 participants’ talent development with the issue of the Jan Van Eyck Academy’s social legitimacy. compared to 2011. Viewed individually, many institutions achieved results that exceeded The projects and the partners – many of which are unorthodox – lead the Academy’s participants the agreed target. However, those that achieved very good results were the very ones to to new insights. We also want to improve the Jan Van Eyck Academy’s financial position. experience major drops in visitor numbers between 2011 and 2012, although this did not Entrepreneurship is a prerequisite for the Academy, but it requires constant dialogue and the right mean that they failed to meet their targets. The four postgraduate institutions for visual balance between the artistic side on the one hand and the project office’s entrepreneurial ideas on arts within the Basis National Infrastructure delivered their core results according to plan. the other.” In total, they supervised 178 participants.

106 \ 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 Dutch films receive a great deal of positive media attention, win prizes, and are selected share of Dutch films in the cinema market has increased from just under 14% in 2007 to for screening at film festivals abroad. In addition to winning national prizes, they also do about 15.8% in 2012 and 17.4% in the first quarter of 2013. Over the same period, the well internationally, as was the case, for example, with Kauwboy, Boven is het stil, and number of cinemagoers and the number of films in production also rose. 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 Taken as a whole, the sector creates or supports 65,700 jobs, 3.6 billion euros in gross won the Amsterdam Art Award for 2013.186 The biggest success in 2013 was Alex van value added, and just under 1.6 billion euros in tax. The Dutch film and audio-visual Warmerdam’s film Borgman, the first Dutch film in 38 years to be nominated for the Palme industry has an “employment multiplier” of 2.036. This means that anyone directly d’Or at the Cannes Film Festival. Borgman also received the Amsterdam Film Festival’s employed in the sector supports another 1.03 jobs in the wider economy. The study also 2013 Golden Calf Award for Best Film and was selected for the European Film Awards. It is indicates a strong positive relationship between the level of state support and the health the Dutch submission for the 86th Academy Awards (the “Oscars”) in the Best Foreign of the film and audio-visual industry. According to the film sector, it merits support for Language Film category. Borgman has already been sold to more than twenty countries that reason, either directly or indirectly through tax relief or economic measures. The and is also being released in North America.187 larger the amount in support per capita, the faster the sector will grow in terms of employment. 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 5.5.8 Results achieved by the film festivals within the Basis National Infrastructure channels.188 Whereas total cinema visits and box-office receipts rose, there was a sharp 2009–2012 (5 institutions) fall in turnover from sales and rentals of DVDs and Blu-ray discs (down 56.4%). Despite a The film festivals within the Basis National Infrastructure 2009–2012 achieved better steep increase in turnover from video on demand and pay per view (up 300%), turnover results than they had estimated. After the peak in 2010, the festivals were consolidated in was not sufficient, on balance, to compensate for the losses sustained by DVDs and 2012. In 2012, the five festivals attracted some 750,000 visitors. Audience-generated Blu-ray discs. Expectations are that it will manage to do so within a few years, however.189 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. 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 5.5.9 Trends in architecture, design, and new media museum, opened on 4 April 2012, attracted an unexpectedly large number of visitors. The A number of policy changes were introduced last year in architecture, design, and new new building also makes it possible to put on large-scale exhibitions. 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 • Dutch Academy for Film Architecture Institute, Premsela/The Netherlands Institute for Design and Fashion, and The Dutch film sector has taken the initiative of setting up an Academy, patterned on the Virtual Platform for the New Media – have merged to form The New Institute [Het those in the United States, France, the United Kingdom, and other countries. The Dutch Nieuwe Instituut]. The institutions for architecture, design, and the new media have been Academy for Film will promote the overarching interests of the whole Dutch film sector. transferred to the Creative Industries Fund NL (they were previously funded entirely The Academy will dedicate itself to improving the image of the sector, fostering solidarity, through the Basis National Infrastructure ). Combining the sectors keys into interdiscipli- promoting and recognising talent, organising debate, and awarding annual film prizes. nary trends and crossovers with other sectors. The underlying aim is to reinforce The membership of the Academy consists entirely of individuals who work to promote innovative potential, capitalise on economic and social value added, and maintain the the interests of the sector. The Academy has been set up alongside the existing sector- current strong international position. In 2011, central government started its “top-sector specific associations. It therefore creates a clear distinction between overarching, policy”, whereby the government invests in the nine most promising innovative sectors in content-related goals and the direct interests of specific professional groups such as the Netherlands.The creative industries comprise one of these nine top sectors. actors, screenwriters, directors, and producers.

185 http://www.sansebastianfestival.com/in/#_ (accessed 1 October 2013) 186 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) 190 Oxford Economics, Economic Contribution of the Dutch Film and Audio-Visual Industry (2013). 188 Film Facts and Figures of The Netherlands, September 2013, Nederlands Filmfonds. p. 38 189 Idem, p. 34–37.

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\ > • Creative industry organising rapidly • Focus on other countries Government efforts aimed at boosting the position of the creative industry – nationally The design sectors now focus more on other countries than in the past, in part owing to and internationally – have led to rapid changes in the organisation density within its the economic downturn in the Netherlands, but also because there are options for various sectors. The professional organisations within the industry have joined together expansion in emerging markets elsewhere in the world. The new internationalisation as the Federation of Dutch Creative Industries. 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). 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 • Design and new media also the CLICKNL consortium, a knowledge and innovation network in the creative The design sector is also coping with an economic downturn, and, like other sectors, is industry. The consortium will set out the knowledge and innovation agenda for the turning to new user groups and social issues. It is also growing more interested in creative industries and promote networking and collaboration on R&D between know­ recycling, new materials, innovation in traditional crafts, and cross-sector connections. ledge institutions and the business community. A Dutch Creative Council has also been set The new media now permeate all segments of society and all design disciplines, and the up, comprising creative entrepreneurs and knowledge workers. 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 • Impact of economic crisis on architecture promotes these trends – as “e-culture” – on a project basis and at institutional level. The The economic crisis has made itself felt in the architecture sector and the building focus is on social issues, tailoring new media for use in other sectors, and interacting with industry. There has been a major shakeout, with the number of architecture firms down by specific groups of users. 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 5.5.10 Results achieved by architecture, design, and new media challenges with which the sector hopes to turn the tide. Niche markets focusing on specific Within the Basis National Infrastructure , the creative industry breaks down into three social issues and user groups have come into view. Examples include the rise of private disciplines, namely architecture, design, and new media. Self-generated revenue in all commissioning practices and partnerships with parties in other domains of society. three disciplines fell in the 2009–2012 period. In 2012, the institutions involved generated The position of the architect within the building process is changing and cooperation and approx. 52% of their self-generated revenue in 2009. Total funding for these institutions co-creation offer new opportunities for architect-entrepreneurs. Municipalities are keying declined by much less, namely 9%. Despite the fall in self-generated revenue, the total into this new trend bit by bit by issuing land for buildings constructed in response to number of visits in the same period increased from 213,000 to 422,000. Average self- private commissions and by making changes in the applicable regulations. generated revenue and visitor-generated income per visitor fell over the four years by 74% and 71%, respectively. • Five architecture programmes The Ministry of Education, Culture and Science and the Ministry of Infrastructure and the 5.5.11 Trends in the literary world and at libraries Environment have transferred responsibility for five architecture programmes to the As from the start of the new funding period, the Basis National Infrastructure has four Creative Industries Fund NL under the joint Action Agenda for Architecture and Spatial Planning national institutions in the area of literature and libraries. They promote reading, organise [Actieagenda Architectuur en Ruimtelijk Ontwerp]. These programmes key into the new readings by authors, develop special journalism projects, and support libraries. 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 The organisation that supports libraries – the Public Library Sector Institute (SIOB) – will new commissioning practices. The Creative Industries Fund NL is issuing open calls for receive funding as part of the Basis National Infrastructure until the new Libraries Act contributions that will deepen the sector’s knowledge within these domains. 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.

191 Actieagenda Architectuur en Ruimtelijk Ontwerp 2013-2016. Werken aan Ontwerpkracht.

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\ > • 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.

192 http://www.cpnb.nl/ 193 http://www.lezenenschrijven.nl/ 194 The fixed book price is to be reassessed in late 2013/early 2014.

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APPENDIX

114 / 115 \ Appendix

------Media & entertainment / Shops selling books Classification of ...... Shops selling music and video recordings ...... Book publishing culture sector / ...... Publishing of newspapers ...... Publishing of journals and magazines The culture-sector figures presented in Section 4 are based on data covering the following ...... categories of Statistics Netherlands’ Standard Industrial Classification system [Standaard Other publishing (no software) ...... Bedrijfsindeling, SBI] (2008). Publishing of computer games ...... ------Other software publishing Arts / Tourist information and reservation services ...... Motion picture production (not for television) Practising performing arts ...... Television programme production Producers of performing arts ...... Support activities to motion picture and television programme production Support activities to performing arts ...... Distribution of motion pictures and television programmes Writing and other artistic creation ...... Cinemas Theatres and event halls ...... Sound recording and music publishing Public libraries ...... Radio broadcasting Lending of works of art ...... Television broadcasting Lending of other cultural goods and public archives ...... News agencies Museums ...... Other information service activities Art galleries and exhibition space ...... Photography Preservation of historical buildings ...... Circus and music hall Circles of friends in the field of culture ------Creative business services / Public relations ...... Architects ...... Advertising agencies ...... Industrial design ...... Organisation of conventions and trade shows ------

116 / 117 \ Appendix

Overview of results of institutions making up the Basis Appendix to Section 5 / National Infrastructure 2009–2012 and institutions funded by the Performing Arts Fund and Cultural Participation Fund

Table A – Trend in net expenditure by 35 largest municipalities and 12 provinces, 2011-2013, 1 total and by discipline Table B – Number of performances/concerts/exhibitions by institutions within the Basis ------total G35* G35* G9 G35* provinces National Infrastructure 2009–2012 and provinces excl. G9 ------performances performances for schools ------1. performing arts (incl. art cinemas) -8% -4% -3% -6% -42% average indexed vis-à-vis 2009 average indexed vis-à-vis 2009 ...... 2. festivals -11% -10% 3% -38% -16% 2009-2012 2010 2011 2012 2009-2012 2010 2011 2012 ...... ------3. visual arts -12% -5% -17% 20% -35% Symphony orchestras 780 101 104 102 234 87 174 200 ...... 4. cultural education and amateur arts -9% -1% 0% -2% -33% Opera * 239 91 93 82 - - - - ...... 5. libraries and literature sector -4% -1% -3% 0% -14% Dance 1.070 110 110 97 759,5 126 161 202 ...... 6. museums -9% -4% -3% -5% -26% Youth dance 311 103 93 78 708,75 129 161 204 ...... 7. historical archives 8% 1% 0% 3% 68% Theatre 1.980 93 100 92 790,5 112 138 127 ...... 8. heritage sites and archaeology -16% 0% -10% 8% -20% Youth theatre 1.095 131 124 108 1.168,5 89 115 126 ...... 9. other -28% -24% -21% -33% -32% Museums ------...... ------TOTAL trend in % -9% -4% -4% -3% -23% Art centres 114 78 97 90 - - - - ...... TOTAL budget in 2013 (in millions of euros) 1.249 954 571 383 295 Music and theatre festivals 1.120 96 123 125 - - - - ...... TOTAL trend (in millions of euros) -125 -36 -23 -13 -89 Film festivals 3.074 184 281 292 ------notes: * For opera, performances for schools not included * Exclusive 4 municipalities.

1 Cebeon, Uitgaven cultuur door de G35 en de provincies 2011 - 2013 (2013).

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Table C – Overview of visits/attendance and visitor/audience-generated revenue by Table D – Overview of performances/concerts/exhibitions by institutions within the Basis institutions within the Basis National Infrastructure 2009–2012 National Infrastructure 2009–2012 ------regular visits/attendance vs. visitor/audience-generated revenue Performance Performance for schools school visits/attendance ------average indexed vis-à-vis 2009 average indexed vis-à-vis 2009 average indexed vis-à-vis 2009 average indexed vis-à-vis 2009 2009-2012 2010 2011 2012 2009-2012 2010 2011 2012 2009-2012 2010 2011 2012 2009-2012 2010 2011 2012 ------Symphony orchestras 780 101 104 102 234 87 174 200 Symphony regular 821.686 100 103 95 € 22.308.962 101 104 92 ...... orchestras ...... Opera* 239 91 93 82 - - - - school 78.379 96 105 116 ...... ------Dance 1.070 110 110 97 759,5 126 161 202 Opera* regular 198.753 94 84 88 € 10.195.057 96 89 94 ...... Youth dance 311 103 93 78 708,75 129 161 204 school ...... ------Theatre 1.980 93 100 92 790,5 112 138 127 Dance regular 401.636 106 121 114 € 8.139.204 109 107 113 ...... school 85.166 83 103 106 Youth theatre 1.095 131 124 108 1.168,5 89 115 126 ------...... Youth dance regular 36.121 114 102 113 € 811.114 104 98 95 Museums ------...... school 68.894 83 96 101 Art centres 114 78 97 90 ------...... Theatre regular 455.309 83 108 109 € 8.451.775 89 132 140 Music and theatre festivals 1.120 96 123 125 - - - - ...... school 32.273 157 143 159 Film festivals 3.074 184 281 292 ------Youth theatre regular 133.139 139 121 110 € 2.083.287 137 149 134 * For opera, performances for schools not included ...... school 117.946 89 121 116 ------Museums** regular 5.802.036 100 111 114 € 56.401.810 102 120 135 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 school 427.078 103 106 108 ------(FCP) 2009–2012 Art centres regular 259.150 105 151 149 € 438.246 81 114 87 ------...... no. of performances/ attendance audience-generated revenue school 8.351 96 122 118 ------average indexed vis-à-vis 2009 average indexed vis-à-vis 2009 Music and regular 362.783 186 209 190 € 3.273.140 92 108 109 2009-2012 2010 2011 2012 2009-2012 2010 2011 2012 theatre festivals ...... ------school FPK Dance performance 902 88 108 99 € 2.483.898 113 111 127 ------...... Film festivals regular 684.326 116 169 193 € 5.482.665 110 114 112 attendance 208.242 78 101 111 ...... ------school FPK Muziek performance 4.068 93 106 107 € 10.676.985 93 101 87 ------...... * For opera, performances for schools not included. attendance 1.205.762 92 105 119 ** The Mauritshuis exhibition in Japan is not included in this calculation. ------FPK Theater performance 4.885 103 98 107 €6.501.262 118 104 141 ...... attendance 597.299 101 94 119 ------FCP* performance - - - - € 3.368.888 96 101 106 ...... attendance 509.926 106 82 115 ------* excluding the World Music Contest Foundation [Stichting Wereld Muziek Concours]

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Table 5. A Institutions within the Basic Infrastructure that achieved or failed to achieve targets, 2009–2012 ------Bibliography / Total Performances for schools ------productions performances attendance number attendance or visits 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) ...... A / • Abbing, H., Why are Artists Poor. The Exceptional Economy of the Arts. Amsterdam (2002). • Theatre +31 (4-3) +23 (6-2) + 4 (2-3) - 44 (1-4) -37 (2-4) • Ministerie van Infrastructuur en Milieu & Ministerie van Onderwijs, Cultuur en ...... Wetenschap. Actiagenda Architectuur en Ruimtelijk Ontwerp 2013–2016. Werken aan • Youth theatre +31 (9-1) +19 (6-1) + 7 (4-3) + 38 (7-3) +33 (7-1) Ontwerpkracht...... • Admiraal K. et al., Cultuureducatie op niveau. De rol van het schoolbestuur in beleid en praktijk. • Orchestras/Music n/a -4 (2-3) - 11 (1-4) + 95 (6-3) +47 (5-3) ...... Alkmaar (2012). • Opera n/a +15 (1-2) - 7 (1,3) - 45 (0-2) +40 (1-0) • Advies Commissie Asscher-Vonk, Musea voor Morgen (2012). ------• Allers M.A. et al., Gemeenten in perspectief COELO/Rijksuniversiteit Groningen 2013 (COELO- Visual arts / rapport 13-4). 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) B / • Baerdemaeker, M. et al., De de sociaal-economische impact van het onroerend erfgoed(beleid) in ------Vlaanderen. Brussels (2011). Festivals (performing arts), • Bekkers, R. Het geven van tijd: vrijwilligerswerk. In Schuyt et al., Geven in Nederland. Reed competitions & biennials n/a -7 ( 2-2) +61 (2-1) n/a n/a Business Education, Amsterdam (2013). ------Film n/a 0 (0-2) + 4 (2-2) n/a n/a • Bijl, R. et al. (Ed.), De Sociale staat van Nederland. Sociaal en Cultureel Planbureau, The Hague ------(2011). Average by sector (targets set at 100). The figures in parentheses indicate the number of institutions that achieved more than 5% above • Boekman 95 over sociaal-liberaal cultuurbeleid, June 2013. or below target respectively (in red).* This list is not exhaustive; some small categories have been omitted. • Broek, A. van den, FAQ’s over kunstbeoefening in de vrije tijd. Sociaal en Cultureel Planbureau, The Hague (2010). • Broek, A. van den, Het draagvlak voor cultuur. In T. IJdens et al. (Eds) Jaarboek actieve cultuurparticipatie 2011. Praktijk, projecten, participatie. Fonds voor Cultuurparticipatie, Utrecht (2011). • Broek, A. van den, J. de Haan and F. Huysmans. Cultuurbewonderaars en cultuurbeoefenaars. Trends in cultuurparticipatie en mediagebruik. Sociaal en Cultureel Planbureau, The Hague (2009). • Broek, A. van den, Kunstminnend Nederland? Sociaal en Cultureel Planbureau, The Hague (2013). • Broek, A. van den, R. Bronneman and V. Veldheer (Eds), Wisseling van de wacht: generaties in Nederland. Sociaal en Cultureel Rapport 2010. Sociaal en Cultureel Planbureau, The Hague (2010). • Buitengaats, DutchCulture (2013). • Burger M. and F. Neffke, Economische waarde van kunst en Cultuur (2011). • Bus A.G., M.H. van Uendoorn, A.D. Pellegrini and W. Terpstra, Een meta-analyse naar intergenerationele overdracht van geletterdheid (1994).

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• This booklet is published by The Ministry of Education, Culture and Science of the Netherlands

• Text Director-General of Culture and Media

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• 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

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