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<pre>1.1
             Succeeding in Culture
The process that is completed by the publication of this advice by the Council
has made clear to which extent the austerity measures, resulting in spending cuts
of more than 25% on the national budget, affect the cultural sector. The Council
cannot avoid coming to the conclusion that the magnitude of the austerity
measures in the basic infrastructure, combined with spending cuts by other
authorities, affect the core of the system.
In previous advices, the Council has underlined the importance of the
cultural chain.[1] The basic principle of the Council is to preserve the
crucial links in that chain. [2] Without education, there is no culture-loving
audience. Without places for experimenting and developing, there is no
breeding ground for young talent. Without young talent, there are no
appealing, innovating cultural expressions. Without all this, there is no
excellence. Both large and smaller cultural institutions, in the Randstad
and beyond, publicly funded and commercial institutions, play a role.
They form the basis of a high-quality cultural life.
    Due to the reduction of the basic infrastructure and the fact that funds and
decentralised authorities can no longer finance as many provisions, the Council       1
                                                                                      Council for Culture
believes that some crucial links in this chain are placed in a vulnerable position.   To innovate, to
The main concern is the development of talent and the creation & production of        participate! Advice
                                                                                      agenda cult ural
a multiform cultural offering. The Council urges to take measures in order to         policy and Cultural
reinforce these vulnerable links.                                                     basic infrastructure
                                                                                      The Hague, 2007
                                                                                      Council for Culture
The development of talent together with cultural education and arts                   Necessary choices:
                                                                                      Advice austerity
education forms the basis of a cultural system. The breeding grounds for              measures culture
high-quality, innovative productions are under severe pressure.                       2013 – 2016,
                                                                                      The Hague 2011.
    Postgraduate institutions for visual arts will lose their government grant
after 2016 (2013 – 2016 is a transit period). Furthermore, in the same                2
                                                                                      Unesco makes a
sector, young talents lose a podium due to the disappearance of a                     distinction between the
number of presentation institutions from the basic infrastructure. In                 following links in the
                                                                                      cultural chain: creation,
the sector of performing arts, the production companies no longer                     production, distribution,
receive a government grant. The Council is aware that big institutions                accessibility and
                                                                                      experience.
for performing arts, to a certain extent, take young talents under their              In this chain, cultural
wings, but the essence of a production company has disappeared.                       expressions have a
                                                                                      central position.
                                                                                      The Council also considers
The Council also believes that the multiformity of the cultural and arts offering     the chain, in which the
                                                                                      artist himself has a central
is in danger. This is partially due to the reduction of the provisions for            position, with the
development of talent, since that is the area where emerging creators realise         following links: education,
                                                                                      amateur art, arts education,
innovative productions. However, the declining offering of dance and visual arts      research and development,
is also to blame. In these sectors, the basic infrastructure loses high-quality       development of talent and
                                                                                      international top talent.
provisions of national importance.                                                                                   7
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<pre>The disappearance of the so-called ‘e-culture institutions’ from the basic
infrastructure also constitutes a heavy loss. The digital production of arts and
culture deserves its due place in the system. For many youngsters, digital arts and
digitally disclosed cultural expressions are important gateways to the cultural
sector.
However, the Council also saw promising developments during this
assessment cycle. The spending cuts have set the sector in motion. The
transition to a cultural sector that is less dependent on the government is in full
swing. Many institutions are aware of the importance to tap into other income
resources and are taking the necessary steps in order to do so.
    However, the Council observes that there still is a world to conquer as
regards the future sustainability of the business plans: the financial positions of
many institutions are vulnerable, the ambitions in respect of audience outreach
and income generation are unrealistically high, entrepreneurship still plays a
limited role in the governance structure of institutions and often, there is no
strategy in case of disappointing revenues. The next years will be crucial for the
success of this cultural transition, from which the government cannot retract. It
has to provide institutions with chances to build a market position through tax-
friendly measures. The recent measure to decrease the VAT rate from 19% to
6% for performing arts is a good first step. The government should also
stimulate the use and the offering of educational facilities - it would greatly
benefit the professionalization of the policy and management of cultural
institutions.
Austerity measures are now implemented at a rapid pace. As a consequence,
institutions were compelled to drastically change the organisation of their
primary process and operational management in a relatively short period of
time. A number of institutions have entered into a close collaboration with
other institutions or into a merger. The Council applauds the institutions
for maintaining the offering of shows, exhibitions, services and
performances to the highest possible extent. However, it is aware of the
fact that the decisions, taken on the basis of this advice, have drastic
consequences for the institutions, their employees and the individual
artists, who work with these organisations.
This advice consists of four parts. The first part elucidates the way in which the
Council proceeded in the assessment of the applications and which general
observations are made on the basis of the assessments. Part 2 contains an
overview of all the grant advices. The individual grant advices are included in
part 3, they are presented by sector and preceded by an introduction; this part
discusses sector-specific considerations and/or questions of the Secretary of
State. Part 4 contains the appendices.
                                                                                      8
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<pre>1.2          Request for advice
             and assessment
             framework
On 15 February, the Secretary of State of Cultural Affairs submitted his request
for advice cultural basic infrastructure 2013 – 2016 to the Council (see
appendix 1). With this advice, the Council answers this request and indicates
which institutions it considers eligible for a grant of the national government. It
concerns a grant in the context of the regulation basic infrastructure 2013 –
2016.[3] On the basis of this advice, the Secretary of State of the Ministry of
Education, Cultural Affairs and Science decides on the awarding of the grants.
He will publish his decision in September 2012.
The Council makes a clear distinction between grant advices and policy advices.
The present advice focuses on grant advices of individual institutions. In
principle, policy advices are not included in this advice. However, the
experiences and observations from this consultation cycle form the basis on
which the bottlenecks in the government policy are reported and they determine
the subjects that are put on the agenda for consultancy in the next period.
The applications are assessed by the Council according to the criteria from the
grant scheme: quality, audience outreach, entrepreneurship, (collections of)
(inter)national importance, education, geographical spreading and (for some
institutions) development of talent. Furthermore, the sector Museums was also
assessed with regard to substantiation of the scientific function. The request for
                                                                                      3
advice and the grant scheme indicate how these criteria should be understood. In      Regulation of the
the grant scheme, meeting the so-called ‘own income’ requirement is a ground          Secretary of State of the
                                                                                      Ministry of Education,
of refusal in the awarding of grants. The Council tested the own income of the        Cultural Affairs and
institutions against this standard.[4]                                                Science, WJZ/204802
                                                                                      (8258), containing the
     The Council assessed how the institution performs in respect of each of the      rules for the subsidy of
criteria and considered for each criterion the feasibility and the effectiveness of   cultural expressions.
                                                                                      When in this advice,
the plans and ambitions. If the quality of the institution has been assessed as       mention is made of the
                                                                                      ‘subsidy regulation’;
insufficient, this assessment cannot be compensated by a (very) positive              reference is made to
assessment in respect of other criteria. Therefore, in these cases, the Council       this regulation.
issued a negative grant advice and/or advised the institution to adapt the grant
                                                                                      4
application.                                                                          These tests were based
     For the assessment, the Council also considered the mission, vision and          on the information on
                                                                                      the own income of the
objectives of the institution. For instance, an institution can choose to emphasise   applicants, which was
a specific profile. This choice may have consequences for the performances of         sent to the Council by
                                                                                      letter from the
the institution in respect of other criteria. For instance, a focus on the            Secretary of State of
development of talent may be to the disadvantage of audience outreach. The            Cultural Affairs on 1
                                                                                      May 2012.
Council took such profile choices of an institution into consideration.
     Furthermore, the Council took account of the place of the institution in the
system. For the assessment of the criteria, the Council considered the                                            9
importance of the institution in the chain and the way in which it substantiates
its collaboration with other partners.
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<pre>1.3              Procedure
For its advice, the Council made use of committees, which are composed by
experts (peers). The Council set up a committee for each group of similar institutions. This
assessment involved ten committees, each of which comprises approximately five experts.
The experts are mainly active in the cultural field and are in each case well-
acquainted with the sector to be assessed. The committees prepared a
preliminary advice to the Council. It is their expertise, experience and
‘professional eye’ that co-determined the advice of the Council. The appendix
contains an overview of the composition of the committees.
In support of the assessment, the Council appointed additional specialised
expertise. Each grant application has been analysed by experts in the field of
entrepreneurship (RebelGroup/Kwink Groep) and of education &
development of talent (Research and Consultancy bureau Claudia de
Graauw). The committees used these additional analyses to come to an
assessment with respect to the relevant criteria.
The Council systematically worked towards an assessment of the applications.
The committee members prepared their meeting(s) by first assessing the grant
applications individually. Each of the members has, independently from one
another, assigned a score per criterion, with specification of the underlying
reasons. Subsequently, the committee convened in order to come to a joint
assessment.
Subsequently, the assessment of the committees was submitted to the
Council in the form of preliminary advices. The Council assessed the
preliminary advices on the basis of the following questions:
      – Is the advice in line with the basic principles of the Council,
        as described in paragraph 1.2?
      – Is the advice properly substantiated?
      – Have all the criteria been adequately treated?
      – Does the advice not contradict the other advices?
      – Is the advice consistent and is it clearly formulated?
Following the consultations in the Council, the preliminary advices were
amended, where necessary, and established. The Council has the responsibility
for the final advices.
The Council would have liked to build in a step, during which the applicants
would have had the occasion to explain their application to the committee.
However, this proved to be impossible due to the short advice period.                          10
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<pre>The grant advices are based on the applications submitted by the institutions to
the Ministry of Education, Cultural Affairs and Science. Additionally, the
Council used - if available - reports of monitoring interviews, insofar as it
concerns institutions from the current basic infrastructure (2009 – 2012). For
the institutions for performing arts, the Council also used reports of
committee members and show visitors. In the other sectors, the committee
members also visit institutions, but those visits are not recorded. Other
sources, consulted by the Council are annual reports, visitation reports on the
(previously) long-term subsidised institutions and other public documents.[5]
The structure of the advice texts reflects the approach of the Council. The advice
provides an assessment on the extent to which the application meets the
individual requirements. The grant advice itself is based on the mutual
weighing between the criteria. The grant advices can have the following
outcomes:
   – the institution/applicant is grant-eligible
   – the institution/applicant is grant-eligible, but the Council advises the
     Secretary of State to connect one or more conditions to the grant
     award and to (instruct to) assess whether or not they are met
   – the institution/applicant is not grant-eligible
   – the institution/applicant is not grant-eligible and the Council advises
     the Secretary of State to reopen the unfulfilled place in the
     basic infrastructure (possibly under adjusted conditions)
                                                                                         5
                                                                                     Use was made of
                                                                                     the annual reports
                                                                                     of 2009 and 2010.
                                                                                     When deemed
                                                                                     necessary on the
                                                                                     basis of the
                                                                                     application, also
                                                                                     consultation of       11
                                                                                     the annual report
                                                                                     2011, if available,
                                                                                     also took place.
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<pre>1.4            Basic infrastructure
               2013 – 2016:
               general view
The grant scheme, on which the Council has based its grant advices, is derived
from the policy letter ‘More than quality’ and it reflects the substantive policy
choices, made by the government. Independent of these substantive policy
aspects the design of the regulation is detrimental to a balanced and effective
basic infrastructure on a number of points.
    In the opinion of the Council, the strict determination of the number of
places available per sector in the basic infrastructure renders the regulation
unnecessarily inflexible. The application of standard amounts contributes to
this inflexibility; it is no longer possible to honour institutions with less or
more financial resources. In particular for the sectors of performing arts and
visual arts, the Council advises to evaluate whether or not it is possible to offer
more customised solutions, in view of a better spreading and larger
multiformity of cultural provisions.
    Due to the use of standard amounts, the institutions have prepared their
budget in such a way as to ensure that the requested grant mostly corresponds
to the standard amount. The institutions are not stimulated to determine the
required grant amount on the basis of commercial considerations. The Council
points out the possibility to utilise a total amount per sector, possibly
complemented with budget indications at institution level.
Below, the Council will discuss a number of cross-sectoral subjects. These are
derived from the advice questions of the Secretary of State and from general
observations following the grant applications.
118 Applications
   118 applications have been assessed by the Council. [6] The number of
   applications for the new four-year grant period has decreased compared to
   the previous period; there are less places available in the basic                  6
   infrastructure. At the same time, the area of advice of the Council has            A list of 119 applying
   expanded, because the phenomenon of the long-term grant has been                   institutions is
                                                                                      enclosed with the
   abandoned. For instance, museums, orchestras and dance and opera                   advice application
   companies form part of the assessment and the advice of the Council again.         (see appendix 2). The
                                                                                      application of the
                                                                                      African Roots
      The applications for the cultural basic infrastructure 2013 – 2016 concern      Festival has been
      a very wide range of institutions. From sectoral institutions to                declared inadmissible
      museums, from youth theatre companies to presentation institutions.             by the Ministry of
                                                                                      Education, Cultural
      From institutions with less than two employees to large organisations           Affairs and Science
      employing more than 400 employees. For the assessment of the                    and has therefore not
      applications, the Council took account of the differences between the           been assessed by the
                                                                                      Council.
      institutions, their significance for the local and/or national                                           12
      infrastructure and their international position.
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<pre>  For many sectors, the regulation determines the number of places in the
  basic infrastructure and also indicates the grant ceiling. In some cases, it
  concerns one application for one place in the new basic infrastructure; while
  in other cases, multiple applicants compete for a limited number of places. If
  there are more applications than available grant-eligible places, the Council
  makes a choice. For museums and film festivals, there is a grant ceiling for a
  whole sector/category and in its advice the Council makes a proposition for
  the distribution of the grant over the grant-eligible applicants.
The coordination between the state, authorities and funds
  In the request for advice, the Council is requested to take account of the
  intentions of decentralised authorities respectively funds. This is a justified
  request in itself, but it is impeded by the current planning of the various
  assessment cycles, which renders a real coordination impossible.
      The Council emphasises that the relevance, and even the necessity, of
  coordination have only increased. However, coordination requires
  the presence of clear preconditions.
  The Council advises the Secretary of State to clarify, before the start of the
  next grant period, the reasons why which cultural provisions pertain to the
  responsibility of the national government, and which responsibilities the
  different parties, including decentralised authorities, can fulfil in the
  system. An orderly coordination takes account of these responsibilities.
      In the current situation, the cultural system would greatly benefit if, in
  the first instance, grants for the basic infrastructure would be awarded at a
  realistic pace, to be followed by the publication of the multiannual grants by
  the funds (in particular the Fund for Performing Arts), on the basis of which
  the local authorities are able to establish their cultural plans. The Council
  will come back to this matter later in its exploration of the basic principles of
  cultural policy and in an advice on the relationship between national and
  decentralised cultural policies.
  In this cycle, the institutions only learn that they can count on financing at a
  late stage. The final assignments of national and decentralised grants for
  2013 are only published in the autumn of 2012. In the opinion of the
  Council, this is too late. Cultural institutions, especially the producing and
  presenting institutions, plan a long time in advance. They schedule their
  shows, contract companies or artists and enter into artistic cooperation
  relationships in a timely manner. A timely planning is part of smart cultural
  entrepreneurship; the government, on its part, can stimulate this by
  conducting the grant cycles in a timely manner.
      The Council informed the major municipalities (the G9) and the
  provinces of the approach and planning of the grant advice. This also applies
  to the urban advisory boards of Amsterdam, Den Haag, Groningen and
  Rotterdam. Consultations have been conducted with the Fund for
  Performing Arts on the way in which the offering of performing arts
  in the basic infrastructure relates to the institution/events that the
  fund will be financing.
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<pre>Assessment and justification
  From institutions which receive contributions from public resources, it can be
  expected that they provide a justification for their performances and functioning.
  However, the Council observes that, during the preceding two years, the cultural
  institutions were faced with varying assessment and monitoring regimes.
      It is important to come to a transparent assessment and monitoring of
  cultural institutions and to limit the administrative burdens for the
  institutions to the highest possible extent by a proper coordination of
  authorities and funds. In 2012, the Council will issue an advice on the
  substantiation of the (periodic) assessment and monitoring of institutions in
  the cultural basic infrastructure and also consider the assessment regimes of
  other instances.
Sector in motion
   In general, it seems that the grant applicants are not yet used to the new
   frameworks, within which they are assessed. Often, their prognoses and
   expectations are high, sometimes unrealistically high, and they often lack
   a convincing underpinning. This is largely due to the pace at which the
   institutions have to implement drastic course changes and/or spending
   cuts.
   The Council observes that institutions need time to transform into
   institutions that are less dependent on public funds. This cultural
   transition, which is now being enforced under the pressure of the austerity
   measures, demands a lot of the institutions. However, given the financial
   situation of many situations, the urgency is high. In the coming years, the
   further professionalization of the management and the direction of cultural
   institutions will need attention and support.
       In a number of cases, especially in case of supporting institutions, there
   has been an enforced merger. Some institutions still find themselves in the
   middle of this process, and this is noticeable in the application. The Council
   has taken this into consideration in its advice. In a number of cases, this led
   to a positive grant advice, under the condition of submittal of a new or more
   elaborate application.
                                                                                       14
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<pre>1.5             Observations on the
                assessment criteria
The Council assessed the applications in respect of each of the criteria from
the regulation. Below, the most important considerations and findings are
discussed per criterion.
Quality
  The Council agrees with the Secretary of State that the quality of the
  activities of a cultural institution is a sine qua non: if the collection,
  productions, presentations or other activities of a cultural i nstitution
  do not possess sufficient quality, it does not belong in the basic
  infrastructure.
      In the grant advice, the assessment on the quality was achieved in an
      intersubjective way. It is based on a joint judgement of the members of the
      committees on the basis of their expertise and experience with the sector and
      the artistic context. Therefore, they also evaluate the performances of the
      institutions in view of the profile and the ambitions of the institution itself.
      The Council assessed the culture-creating institutions on the basis of the
      quality of the activities they deliver. Important aspects for the assessment
      are the following: the skilfulness of the activities, their originality, the
      expressiveness and the innovative nature. For the other institutions
      (museums, presentation institutions, festivals and supporting institutions),
      the quality is mainly assessed on the basis of a convincing positioning and
      the development thereof, the expressiveness and the innovative nature of the
      activities and/or the care and handling of collections.
Audience outreach
  The audience outreach depends heavily on the profile of the institutions,
  since certain expressions have a limited outreach, due to their nature.
  This is, for instance, the case for initiatives that are focused on
  innovation and development, which, by definition, do not trigger the
  interest of large audiences. Furthermore, the deployment of resources
  and capacity in the field of cultural education is not always targeted to
  attract an as large as possible audience in the short term, but should
  rather be seen as an investment in the future. In its assessment of the
  applications, the Council has taken account of such differences.
      Jointly, the applicants assume that the Dutch public will visit a
  cultural institution 34% more often and spend an extra 42 million Euros.
  Especially the sector of theatres and youth theatres count on a strong
  growth: 90%. Although the annual growth of visitors amounted to an
  average of 6% between 2005 and 2009 (Cultuur in Beeld), the expected                   15
  average increase is unrealistic. The expected growth of visitors of museums
  also seems unrealistic, given the annual increase of merely a few
  percentages in this sector.
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<pre>   The cultural sector competes for the favour of the public with other
   leisure activities, such as sports and media. Recent figures indicate
   that visits to performing arts are sensitive to economic cycles and
   that the visitor numbers of subsidised institutions are stagnating
   instead of rising.
   However, the Council sees opportunities to increase the audience outreach.
   This starts with the realisation of a good (artistic) product. It also requires an
   elaborate strategy in order to reach (potential) target audiences. Sound
   analyses of target audiences and visitors are indispensable for this purpose,
   but often they have not yet been conducted by the applying institutions.
       The Council emphasises the importance of a broad approach of audience
   outreach: it is necessary to investigate the potential of target audiences with a
   different background, age, stage of life, education. The extent to which an
   institution is able to reach various target audiences is not only important
   from the viewpoint of cultural outreach and participation, but it is also an
   essential part of the earning strategy of an institution.
Cultural entrepreneurship
  Entrepreneurship is more than meeting the ‘own income’ requirement.
  The Council expects from cultural institutions in the basic
  infrastructure that they have an orderly, future-proof operational
  management and, insofar as reasonably possible, generate resources
  from sources other than public financing. Cultural entrepreneurship is
  closely related to the artistic process. In the end, the cultural product is
  the basis for the business plan of each institution.
      The consultancy bureau RebelGroup/Kwink Groep analysed the
  plans in respect of the entrepreneurship criterion, in support of the
  assessment on individual institutions by the Council. Both the quantitative
  aspects (such as the ‘own income’ standard, financial position, development
  of revenues and expenses) and the qualitative aspects (such as the
  positioning of the institution, cooperation, marketing, governance and
  earning model) have been taken into consideration. Although there are
  significant differences between the institutions, it is possible to make some
  general observations on the basis of the way in which the applying
  institutions dealt with this criterion.
   In almost all the applications, the Council finds a focus on entrepreneurship.
   Most of the institutions are aware of the fact that they have to widen their
   earning model. They know their position in the field, enter into (strategic)
   partnerships and mention alternative income sources. Many institutions fully
   integrate cultural entrepreneurship in their vision. However, at the same time
   they fail to translate important parts into practice. More institutions should
   directly link their artistic vision to audience groups, partnerships and new
   products.
                                                                                        16
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<pre>The institutions expect a growth of their own income of an average of
27% in 2013, to 36% in 2016. Theatre and youth theatre companies
even foresee a growth of more than 90% of their own income, of
which 60% would be generated from revenues from the public. In
spite of the high expectations for the growth of sponsor contributions, it
still constitutes a relatively small part of the (expected) income of the
institutions.
Most institutions meet the ‘own income’ requirement. However, the
differences between the sectors are significant: the film festivals achieve an
average of 162%, opera institutions an average of 30%. A relatively
large part of the presentation institutions shows huge fluctuations over the
years; in a number of cases, there is a difference of a factor five between
two consecutive years. The Council is of the opinion that these fluctuations
are inherent to the innovative and often experimental work executed by the
presentation institutions.
Successful entrepreneurship starts with ambition. On the whole, the
ambitions are high to very high. This is the way the institutions react to
the policy changes of the Secretary of State. However, in the preparation
of the plans they appear to lack sufficient information for underpinning
the strategic choices and ambitions. Most of the time, the institutions
still have to build up expertise and instruments within the own
organisation. Furthermore, entrepreneurship plays a too limited role in
the governance structures, which are still strongly oriented towards the
(political) support basis of the institution, and less towards the
acquisition of the necessary expertise for the management of a cultural
enterprise.
In the plans, the decline of the grant funds of the Ministry of Education,
Cultural Affairs and Science is compensated by an expected increase of
the grants of local authorities and by the increase of the own income.
The lower grant of the Ministry of Education, Cultural Affairs and
Science constitutes only for a few institutions a reason to change the
internal cost structure and to, for instance, reduce the fixed costs and the
management costs. For the symphonic orchestras, it is important to
introduce a new collective labour agreement, which is consistent with the
current, more flexible practice. The Council observes that the different
orchestras individually prepare their own labour conditions package.
Different indicators show a weak financial starting position on certain
places in the basic infrastructure: 20% of the institutions have limited
equity and 35% of the institutions have limited financial resilience. This
starting position does not necessarily have to be alarming; a substantial
grant ensures the income for a few years. However, the institutions are
pushed towards the market and will have to take more risks in order to
develop their entrepreneurship.                                                  17
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<pre>   When ambitions are limitedly underpinned, very high, or even
   unrealistic and if there is no strategy in case of disappointing
   revenues, the weak financial starting position becomes problematic.
   This is especially the case for institutions for performing arts. These
   institutions should receive and use more possibilities to build up
   equity.
   The council has included the subject of cultural entrepreneurship in the
   advice programme for 2012 and the next years. The central question is in
   how entrepreneurship develops itself in the cultural sector, what the effects
   of the government policy are and which strategies are successful.
   The Council proposes that the Secretary of State provides periodic analyses
   of the developments in the field of entrepreneurship and subsidised
   institutions. In this context, it should also be considered to which extent the
   analyses of the business plans, which have been conducted for this
   assessment cycle, can be used as baseline measurement in the coming period.
Education
  With the subsidised sector shrinking, cultural education becomes even more
  important. It reaches people of all ages, within and outside educational
  structures. Starting cultural education from a young age increases cultural
  participation at a later age.
   Together with the Education Council, the Council is preparing an advice on
   cultural education which will be published in the beginning of the summer.
   This advice is mainly focused on primary education, but also discusses
   general aspects, such as distribution of responsibilities of the various
   authorities and tasks of the cultural institutions in relation to educational
   structures.
   Besides the specific assessments of each institution, the Secretary of State
   also requests a general assessment on education in the different sectors.
   Generally, the Council is positive about the attention paid to education in
   the applications of the institutions. This is a positive development compared
   to previous grant periods. The Council observes that the nature and the size
   of the applying institutions are very diverse. This has consequences for the
   substantiation of the educational activities, which also differ per sector or
   institution. There are sectors or institutions where, due to their profile or
   place in the chain, attention paid to education is less evident.
   From the applications as a whole, it can be concluded that the cultural
   institutions wish to substantially intensify the relation with educational
   structures. They have high ambitions. For instance, the theatre companies,
   as well as the symphonic orchestras, want to virtually double their
   performances in schools. Furthermore, the institutions wish to increase
   the student outreach with 50%. However, this is not always translated into
   the educational policy of the institution itself.                                 18
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<pre>   The Council believes that the staff deployment and the earmarked resources
   are not in line with the high level of ambition. Therefore, the veracity of
   these plans is limited.
   Furthermore, it is remarkable that the institutions mainly express their
   commitment to education in offer-oriented activities. The number of planned
   activities is large and the Council foresees a proliferation of offerings for
   schools. The schools themselves have a limited budget and have to fit
   cultural education in with the educational curriculum. Therefore, the
   question is whether the offering will effectively be purchased. The Council
   believes that quality is more important than quantity and underlines the
   importance of sustainable partnerships between educational structures and
   the institutions. Knowledge and expertise within the educational departments
   of the institutions about the objectives of the educational structures in respect
   of arts, culture and heritage will require a lot of attention of the knowledge
   institute for cultural education and amateur art, which yet has to be founded.
Development of talent
  The development of talent is a criterion for institutions in the sector of
  performing arts (with the exception of youth theatres and orchestras for
  the accompaniment of dance and opera). For the postgraduate visual
  arts institutions, the development of talent is a core task. The
  Council agrees with the Secretary of State that larger institutions in the basic
  infrastructure should also take responsibility for innovation and young
  talent. Therefore, it also examined the activities in the area of development
  of talent at festivals and presentation institutions in the visual arts sector; this
  way it can gain insight into the developments in this area.
   The Council is concerned about the development of talent in the cultural
   area. It is put under pressure in various sectors. The postgraduate visual arts
   institutions will lose their government grant after 2016 (2013 – 2016 is a
   transition period). In the performing arts sector, the production houses
   no longer receive a government grant. The Council observes that the
   institutions for performing arts, which have submitted an application,
   do not take over all the tasks of the production houses. For instance,
   the theatre companies mainly pick the talents who have already been
   active in the theatre circuit for a while. The room for experiment,
   which was inherent to the purpose of a production house, has
   unfortunately been abandoned.
       In the museum sector there are also worries about the development and
   the flow of talent. There is no senior secondary vocational education
   focused on this sector, and there is no optimal alignment between scientific
   education and the museum sector.[7]
   On the basis of these findings, the Council advises the Secretary of                  7
   State to periodically monitor the state of affairs with respect to                    A good example
                                                                                         is the Master
   development of talent.                                                                "Museum
                                                                                         Conservator"       19
                                                                                         (Museum Curator)
                                                                                         at the Vrije
                                                                                         Universiteit
                                                                                         Amsterdam.
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<pre>(Inter)national importance
   In order for an institution to be placed in the basic infrastructure, according
   to the (inter)national importance criterion, the institution should perform
   activities and/or have a collection of (inter)national importance.
   All the institutions that received a positive advice represent a national
   interest. This can be expressed in several ways and depends heavily on the
   tasks and the chosen profile of the institution. It can range from the
   performance of shows or exhibitions that are unique to the Netherlands, to
   the management of a collection of national interest. Also occupying a
   distinctive, relevant position within a sector may represent a national
   interest. This is for instance the case for some supporting institutions.
   International importance implies great prestige on international podiums,
   relevant international cooperation or huge amounts of visitors of
   presentations abroad.
       For museums, both the international activities and the importance of the
   collection have been considered. The Council will go further into the matter
   of national responsibility for collections in the system advice on the
   museums.
Geographical spreading
  The Council finds it very important that people throughout the country are
  able to make use of the cultural offering. Because of the shrinking of the
  basic infrastructure, the role of funds and other authorities is of great
  importance for the geographical spreading of the offering.
   Especially in the sector of performing arts, the small and medium-sized
   cultural institutions will have to reach a larger audience, not only in their
   place of residence, but also via performances elsewhere in the country.
   Geographical spreading does not have the same relevance for the different
   sectors within the basic infrastructure. While the applications for film
   festivals come from three big cities (Amsterdam, Rotterdam, Utrecht),
   the applications for theatre are divided over more (big) cities in
   the Netherlands.
   For all the sectors, the Council raised the question whether the whole of the
   institutions to be subsidised lead to a sufficient spreading of the cultural
   offering. In most sectors, the regulation offers little room to apply the
   criterion of spreading. The sector introductions indicate which
   considerations have been made.
                                                                                     20
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<pre>1.6            Resources for
               internationalisation
In paragraph 3 of the Request for Advice cultural basic infrastructure
2013 – 2016, the Secretary of State requests the advice of the Council on the
distribution of international resources over the funds. An amount of
1.8 million Euros is available to the funds from the so-called HGIS-budget,
which is destined for:
      – activities for market expansion in foreign countries;
      – stimulating a good starting position for young Dutch talent on the
        international market;
      – a high-quality presentation of Dutch proven talent and
        an innovative offering at relevant presentation places.
In his request for advice, the Secretary of State already stated that not all the
funds submitted elaborate plans. This did indeed appear to be the case. The
policy plans of most funds provided too little information in order to provide
an underpinned and balanced advice regarding the distribution of the
internationalisation resources.
    Meanwhile, the Secretary of State provided all the funds with the
opportunity to review their policy plans and to complement them, were
necessary. The Council will therefore only answer the advice question
on the distribution of the internationalisation resources in its
complementary advice, which is expected to be issued in the middle of
July 2012.
                                                                                    21
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<pre>1.7 Conclusions and recommendations
    – Stimulate the development of talent and multiformity in the
    cultural offering.
    – Introduce more tax-friendly measures in order to enable
        institutions to build up a market position.
    – Clarify, before the start of the next grant period, why which
        cultural provisions pertain to the responsibility of the national
        government and which responsibilities the different parties,
        including decentralised authorities and the funds, can fulfil in
        the system.
    – Ensure that the order in which the grant decisions are published
        is workable for all the parties: grant providers and grant
        receivers.
    – Strive for a grant scheme with more flexibility, involve the
        benefit and necessity of the use of standard amounts and a
        predetermined number of places.
    – Initiate and support the professionalisation of the policy and the
        management of cultural institutions, especially in the area of
        audience outreach, entrepreneurship and education.
    – Provide a periodic analysis of the development in the area of
        entrepreneurship and development of talent.
    Following this grant advice, the Council intends to provide a further
    exploration or advice in respect of the following subjects:[8]
    Exploration of the basic principles of the cultural system; Advice
    on the assessment and quality assurance of publicly financed
    cultural institutions; Advice on cultural entrepreneurship; Advice
    on the development of talent; Advice on the museum regime.
                                                                          8
                                                                          See also Advice
                                                                          Programme Council
                                                                          for Culture 2012
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<pre></pre>

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<br><br>