Hoofdstuktitel hier 2 / 3 \ Table of contents 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 6 / 7 \ 1 \ The value of culture for society; management summary \ > 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.