<b>Bijsluiter</b>. De hyperlink naar het originele document werkt niet meer. Daarom laat Woogle de tekst zien die in dat document stond. Deze tekst kan vreemde foutieve woorden of zinnen bevatten en de opmaak kan verdwenen of veranderd zijn. Dit komt door het zwartlakken van vertrouwelijke informatie of doordat de tekst niet digitaal beschikbaar was en dus ingescand en vervolgens via OCR weer ingelezen is. Voor het originele document, neem contact op met de Woo-contactpersoon van het bestuursorgaan.<br><br>====================================================================== Pagina 1 ======================================================================

<pre>                    2014
Developments
and trends in the
cultural life in
the Netherlands
</pre>

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<pre>Falstaff Dutch National Opera & Ballet
         De taak van de raad           3
</pre>

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<pre>The Dutch Golden Age Rijksmuseum Amsterdam</pre>

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<pre>Madame Rosa The Dutch National Theatre</pre>

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<pre>                           Contents
                      1.   Introduction              7
                      2.   On culture and society   13
                      3.   On artists               25
                      4.   On the audience          33
                      5.   In conclusion            41
                           Notes                    51
                           References               55
De taak van de raad
                                                         Contents
                           Colophon                 61
7
</pre>

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<pre>   1.   Introduction
The cultural sector has shown its strength in the past years.
Despite the economic crisis and considerable spending
cuts, the cultural sector still remains steady. Nearly half of
the Dutch population actively spends part of their leisure time
participating in artistic and heritage activities, as amateurs
or volunteers. [1] The Netherlands scores above the European
average regarding visits to performing arts and museums. [2]
    We have internationally renowned orchestras and
museums; architects, visual artists and theatre directors find
success abroad; Dutch design is globally well-represented.
    The amount of art on offer is still large, diverse and acces-
sible. Creators are innovating and institutions are more effi-
                                                                    Introduction
cient than ever. There is a high degree of self-sufficiency and
resilience; the sector is dynamic.
However, this offers no assurances for the future. Expectations
are that from 2014 onwards the government will spend half a
billion euros less on art and culture compared to 2011. [3]
Revenues from other sources are certainly not able to compen-
sate for this financial drain on the sector yet.
    Institutions have been closed, productions put on hold,
people laid off. [4] There is a risk of new cuts on the municipal
level. The commercial side of the cultural sector is also facing
great challenges. Rules and relationships are changing, tech-
nologies are supplanting old customs, and artists and audiences
are approaching each other in new ways.                             7
Nonetheless, the government will continue to play an impor-
tant role in the cultural sector. Future cultural policies will
continue to influence the resilience and dynamism of the sec-
tor. Policy choices naturally depend on political views and
preferences, but they are also determined by changes in how
culture is experienced and produced. This survey looks at
these changes.
</pre>

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<pre>First debate, then policy
   This publication of the Council for Culture is not advisory,
   but exploratory. The Council is forming an overview of
   the cultural Netherlands and will present important trends
   and developments in cultural experience and production. [5]
       The cultural survey is a preamble to the Agenda
   Cultuurbeleid that the Council will publish in the spring of
   2015, advising government with regards to the main points
   of cultural policy for the period 2017 – 2020. With this
   publication, the Council would like to indicate which cen-
   tral points it considers important for policy and adminis-
   tration, but will not yet make any proposals.
       The Council first hopes to stimulate discussion with
   this survey.
   The Council looks at both subsidized (non-profit) and           Introduction
   commercial (for-profit) cultural fields. [6] However, it does
   not claim to describe all developments; it limits itself
   to the developments it deems relevant. That undoubtedly
   means that some trends will be left out of the discussion,
   or develop in an unexpected way. That is the result of
   surveying trends and predicting the future.
       The Council hopes to provoke a vibrant and timely
   debate about the line of cultural policy in the preamble to
   its advice on the cultural system, and well before new
   resolutions in 2015 and 2016 regarding distribution of
   subsidies.
                                                                   8
Accountability
  The empirical basis of cultural policy is improving. For
  example, research by the Netherlands Institute for Social
  Research (SCP) into cultural interest and participation,
  the publication series Culture at a Glance of the ministry of
  Education, Culture and Science (OCW) and De Cultuur-
  index of the Boekman foundation and SCP all map facts
  and figures about the cultural sector.
      The Council has used this data and interprets it in
  this publication.
</pre>

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<pre>Many of those connected to the Council have contributed
to this survey. Committee members and advisors to the
Council have indicated which developments in the various
cultural disciplines they deem important. Their input has
been used to determine trends that the Council evaluates
as important for the entire cultural field. [7]
The publication is structured as follows. Chapter 2
discusses the changing relationship between culture and
society. Chapter 3 describes trends and developments in
 cultural supply: regarding artists, producers and cultural
institutions. Chapter 4 discusses cultural demand: trends
and developments regarding the audience. The survey con-
cludes with a summary and final reflection.
                                                              Introduction
                                                              9
</pre>

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<pre>‘Spawn’, Jonas Vorwerk Dutch Electronic Art Festival
                       De taak van de raad           10
</pre>

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<pre>   2.   On culture and society
The world is in motion. Globalization, individualization,
changing international relationships, computerization,
urbanization, ageing populations, migration and economic
crises: people adopt a less forward-thinking mindset, feel
insecure and distrust large institutions.
    Current large societal trends also leave their marks in
the cultural world. Artists and cultural institutions anticipate
and reflect on them. World events are reflected in the arts,
although that is not always clear to see. However, there is a
visible emergence of new art forms, different patterns in
cultural visits and leisure activities, and new organizational
forms and trends. Which trends does the Council see con-
                                                                    On culture and society
cerning culture and society?
The arts form new connections
  In the past few years, art and culture have lost some of
  their esteem in public opinion. Authority is under pressure
  in the cultural world; expertise is often dismissed as elitism.
  The political debate has been negative for some time, and
  audience loyalty to their regular choices in leisure activities
  has decreased.
      The sector itself is also to blame for this dwindling
  support. With a rather introverted attitude and little
  regard for a changing society, the sector could not gain
  much support from the Dutch population. [8] However,
  this attitude is increasingly replaced by a more outward          13
  focus.
      It is a time of new connections. Artists and cultural
  institutions look for other partners, in different ways than
  before.The current generation of artists and their audience
  are not guided by ‘institutions’ or ‘experts’ anymore, but
  find their own way – especially guided by friends and com-
  munities, via social media and other channels.
      The audience not only experiences art and culture in
  museums, theatres or concert halls, but now also at festi-
  vals, on the street or simply at home via tablet or computer.
</pre>

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<pre>   Artists are involved in new ways in the design and organi-
   zation of the public domain, in health care and education.
   In their professional practice, they combine artistic acti-
   vities with other related projects. [9] That is partly economi-
   cally driven – one needs to make a living – but generally,
   social engagement is increasingly evident in the work of a
   new generation of artists.
   Art and science are forming or renewing interesting con-
   nections. Artists and scientists have inspired each other
   throughout the centuries and used to have more intensive
   relationships. Several universities and art academies now
   see the rise of initiatives for new collaborations between art
   and science. A good example of this is the establishment
                                                                     On culture and society
   of the Academy of Arts within the Royal Dutch Academy
   of Sciences (KNAW). One can now obtain a master’s
   degree and doctorate in the new discipline of artistic
   research.
       The perception of the artist, the ability to compose
   human experience and the importance of the aesthetic
   experience in human existence is complementary to the
   scientist’s line of approach.
Digitization is a game changer
  Society has been digitized and the consequences also run
  deep in the cultural sector. Digitization has a considerable
  influence on the production process, which is cheaper,
  simpler and more individual; on distribution, which is sim-        14
  pler, more flexible and possible through many channels;
  on access to artistic products like music, film and books,
  becoming more important than possession of these pro-
  ducts; and on management, storage and access to heritage.
  Often the advantages of digitization are great, but they
  also raise new questions and difficulties. Because of frag-
  mentation and disparity in digital search engines, for
  example, the durability and availability of digital heritage
  collections cannot not yet be guaranteed.
</pre>

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<pre>   Thanks to digitization, the arts are more visible in society
   than ever. The cultural offerings were never this abun-
   dant on both global and local levels; the possibilities of
   consumption and active participation in various art forms
   have never been more diverse. With Google we can walk
   through museums virtually and usually for free; through
   YouTube or live streams we can ‘attend’ concerts of Lady
   Gaga, the National Theatre or the Royal Concertgebouw
   Orchestra.
       Influenced by digitization, the arts have not lost their
   meaning, but demonstrate it with different means and
   through many forms of media. Our views on authenticity
   change under the influence of this media revolution. It
   is hard to overestimate the impact of these developments.
                                                                   On culture and society
   At the same time, digitization forces artists, producers
   and distributors to search for new business models.
   This development is especially acute in music, literature
   and film, now that copyright and intellectual property
   rights are becoming harder to maintain. The situation in
   journalism also illustrates this development. There are
   interesting digital initiatives, like new payment models for
   quality journalism (De Correspondent, Blendle).
       But despite the lower costs of the digital product (in
   terms of technical distribution, that is), our small language
   area does not make it easy to generate the same revenues
   compared to print newspapers and journals. Regional
   newspapers are disappearing; local media – public and           15
   commercial – can barely survive.
The importance of cities increases
  An increasing part of the population lives in cities, which
  are also places of work, school, recreation and studies. [10]
  Cultural capital is an important factor for a prosperous,
  appealing city. The design of the city and its surroundings
  – and through that the role of architects and designers –
  greatly influences the well-being of its inhabitants.
</pre>

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<pre>Cultural facilities to a large degree determine the identity
and uniqueness of a city. [11]
    The profile of a city can vary highly because of cultural
facilities. For example, urban agglomeration in the western
part of the Netherlands has a different cultural life com-
pared to a city like Groningen or the cities of Noord-
Brabant. The Council expects this development of diffe-
rent cultural identities to persist. The composition of the
population, identity and ambitions of the municipalities
are important factors in determining the way in which this
will happen.
The Council sees cultural institutions responding to this
urban character. They look for connections with local
                                                                    On culture and society
audiences through productions or exhibitions that refer to
stories from the city and its surroundings. The collabo-
ration between cultural institutions in urban confluence
is intensifying. More and sometimes unconventional
collaborations are coming into existence, not just within
the production and consumption chain (vertical), but
also especially between theatres, museums and societies
(horizontal). It is not yet common for institutions situated
near each other to share equipment and services.
The Council expects this to increase in the near future.
By presenting themselves more as cultural hubs, theatres
and museums are reinforcing their positions in the city.
Increasing attention is paid to creating a pleasurable              16
atmosphere in and around the building.
    Recent renovations of museums and the planned new
construction of cultural facilities are striking. Cities choose
to design cultural buildings in more varied, remarkable
and accessible ways. [12] Increasingly, facilities like theatres,
libraries, the catering industry and municipal services are
brought together.
</pre>

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<pre>More international orientation
  Besides these urban developments, artists and cultural
  institutions are also becoming more internationally
  oriented. The city is home base; the world is the playing
  field. Not only international eye-catchers like the Royal
  Concertgebouw Orchestra, Nederlands Dans Theater or
  the Rijksmuseum, but also individual artists and smaller
  institutions seek an international platform through fairs,
  biennales, festivals, collaborations or digital media. [13]
      Pop music, dance, games and television productions
  are especially able to reach a large, worldwide audience.
  Professional arts degree programmes attract talent from
  all over the world and focus increasingly on international
  orientation in their curriculum.
                                                                 On culture and society
   Much of the art production is taking place internationally
   and is less concerned with borders, whether this is desira-
   ble or not. For instance, the competition in film and music
   will grow, be increasingly hard to predict and will often
   come from abroad. New players are often large and finan-
   cially strong and have the appeal of the exotic newcomer.
   They do not need to make their content for the Dutch-
   language market alone. Foreign parties now own a large
   part of both the production and distribution of Dutch
   media, for example.
       This international trend in art and media production
   is influencing Dutch cultural identity, and this will only
   increase.                                                     17
Regulation increases; new financial sources are scarce
  The cycle of cultural policy is considerably structured in
  government, public funds and many municipalities.
  This system of subsidies and evaluation has become more
  systematic and formalized in the past decade. Subsidy regu-
  lations are becoming more specific, often with clearly
  defined categories, subsidy caps and tough output demands.
</pre>

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<pre>The need for verifiable decisions and quantitative indicators
seems to grow. Cultural policy is increasingly driven by
economic rationality instead of cultural-political starting
points.
This movement is in contrast with the increasingly informal
way in which the cultural field is organized. In networks
with little hierarchy, institutions and artists form horizontal
connections across disciplinary borders. This is a trend
that requires more flexible regulations and policy instru-
ments, allowing more space for an institution’s own
profile. In a situation of constant movement, rules and
standardized methodologies often get in the way.
                                                                  On culture and society
The Council sees several municipalities that are respon-
ding to these dynamics and who are expanding their range
of policy-making methodologies. For example, they are
facilitating initiatives from artists and investing in cultural
education; they are creating hotbeds for cultural and
creative initiatives by reusing unoccupied real estate or
cultural heritage.
    Besides subsidies, they are also looking to other financial
incentives to encourage cultural enterprise. These muni-
cipalities are able to build a strong cultural and appealing
economical profile, using the stories and history of their
town.
Public funding available to the arts and cultural heritage        18
has diminished. It was hoped that more private funding
would compensate for this, but, despite great efforts, this
was not the case. There is a trend (also internationally)
of decreasing sponsorship of art and culture and a more
complex collaboration between business and art institu-
tions. Private donations are declining, but patronage and
crowd funding do seem to be in a period of growth. Gene-
rally, the image of private funding is not at all positive.
</pre>

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<pre>   The (aftermath of the) economic crisis, the tone of the
   political debate of the past years and the government’s
   deregulation of cultural policy-making do not draw poten-
   tial sponsors and private persons to the cultural sector in
   the least. Stimulation measures like the Gift and Inheritance
   Tax Act have not yet been able to compensate for this.
Knowledge and expertise under pressure in
the heritage sector
   In the heritage sector, specialist and professional know-
   ledge of the preservation and management of collections
   (in museums and archives), monuments and archaeology
   is essential. The Council is seeing a decrease of this know-
   ledge and expertise. Transfer of knowledge is stagnating
                                                                     On culture and society
   because of the ageing population, combined with a decrea-
   sing influx of new talent. Increased commitment from
   volunteers cannot compensate for this gap, since they can-
   not fall back on the knowledge of professionals.
   The imminent loss of elementary knowledge and expertise
   in this sector raises questions about the government’s
   responsibility of sustaining it. The situation concerning the
   conservation of monuments is dire, for example, since
   tasks are being transferred to places where specialist know-
   ledge is lacking, through, among others, decentralization.
   The Council sees some possibilities for reversing this trend.
   In Overijssel, for instance, the restoration trade is given new   19
   incentives. [14] The Cultural Participation Fund has also
   created a regulation specifically focused on the preservation
   and transmission of trades. These are good initiatives, but
   they do not yet offer a structural solution to the problem.
</pre>

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<pre>‘Um die Ecke’, Selfcontrolfreak Urban Spree Gallery, Berlin
                                De taak van de raad         22
</pre>

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<pre>   3.   On artists
The cultural sector is increasingly dominated by a small num-
ber of iconic institutes on the one hand, and a large number
of individual artists, small businesses, temporary facilities and
initiatives on the other hand. Cultural production is changing
under the influence of digital techniques, globalization
and changing relationships between creators and audience.
Which trends does the Council see?
Artists more often self-employed,
straight across disciplines
       Those working in the cultural and creative sector more
   often choose – or are forced – to be freelancers with mixed
                                                                    On artists
   professional activities. This has been customary in visual
   arts, film and literature for some time, and now the perfor-
   ming arts and heritage sector follow. [15] Artists are not set
   back by a bad economic climate; instead they become
   self-employed.
       Especially younger artists have learned to reflect more
   on and communicate about their signature and are skilled
   at working in a creative profession in the current market
   and society. [16] This development benefits the societal
   anchoring of artists, but it can also restrain the develop-
   ment of talent. Above all, many artists are coping with
   unemployment and poor working circumstances. More
   than half of actors earn less than € 12.000 a year. [17]
   The number of interns in institutional art businesses is         25
   increasing, even when those interns have already com-
   pleted their studies.
   Artists are increasingly finding their own way in the cultu-
   ral landscape, whether economically forced to or not.
   When they are less attached to institutions and organiza-
   tions, they more easily find projects in other disciplines.
       Both the growing regard for the creative industries and
   technological developments contribute to that. The use
   of digital techniques facilitates crossovers.
</pre>

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<pre>   The boundaries between disciplines are fading. Art is
   made and presented at new locations and producers from
   different art disciplines collaborate at various festivals
   and events.
       Strikingly, many artists do however seem to feel
   obliged to the canonical mainstreams in the various arts.
   Shakespeare, Chekhov, Beethoven, Wagner, Balanchine
   or Van Manen can, for example, be seen and heard
   in the performing arts. Innovations are often inspired by
   material borrowed from other canons, as in literature or
   film. However, a new visual language with a vivid artistic
   practice has come into existence (‘e-culture’), influenced
   by both analogue and digital new media.
                                                                  On artists
Cultural participation: the development of
the ‘public amateur’
   Depending on the calculation, 25 to 50 per cent of the
   Dutch population spend their free time on various forms
   of active cultural participation. [18] The ‘public’ amateurs
   and volunteers play an increasingly important role in the
   cultural field. Children take music or dance lessons, their
   parents visit archaeological sites nearby, or contribute to
   the redevelopment of their neighbourhood, and their
   grandparents write memoirs or do genealogical research.
       The roles of creator, professional, expert and audience
   are starting to blend. Everyone can display their talent
   and be discovered on Internet platforms or social media.
   Musicians create their own YouTube videos, which are           26
   sometimes distributed worldwide through millions of
   downloads. The ease with which creations are copied and
   distributed in the digital domain makes it harder to main-
   tain the protection of copyright. What is more, co-creation
   has become common currency. Exclusivity does not exist;
   instead there is an implicit invitation to build on each
   other’s creations.
</pre>

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<pre>   Nevertheless, figures indicate that the number of people
   practicing amateur art has been declining in the past years. [19]
   We do not yet exactly know the cause; the shrinking offe-
   rings of art centres might play a role.
       However, it is probably also because there are other
   – not yet well-measured – forms of cultural participation:
   through Internet and social media, through ‘pop-up’ ini-
   tiatives or more casual connections and small-scale circles
   that are not yet visible. With cutbacks on a municipal
   level (art centres), it takes great creativity to maintain the
   supply of courses and possibilities for active cultural par-
   ticipation. Accessibility, continuity and quality of basic
   facilities are under pressure. [20]
                                                                       On artists
   The number of volunteers in museums, performing arts
   and amateur arts, for example, has grown, but this group
   is ageing. Finding and committing young volunteers
   proves to be difficult. The ‘new volunteer’ chooses more
   temporary projects instead of a fixed relationship.
Development of talent increasingly off the beaten track
  In 2012, the Council feared a serious decline in talent
  development focused on professional practice: production
  companies were no longer included in the state-financed
  basic cultural infrastructure (BIS), post-academic institu-
  tions for visual arts needed to prepare for a future without
  government funding, and small and medium-sized busi-                 27
  nesses – the hotbeds of talent – were affected by the cuts. [21]
  The Council was concerned that essential elements of
  talent development would be damaged.
   Fortunately, many initiatives have been taken. The Perfor-
   ming Arts Fund and the Mondriaan Fund have regulations
   for new artists, and the professional arts educational field is
   executing sector plans to create more space for master’s
   degrees. In various cities theatres, societies and production
   companies are joining forces to design talent development
</pre>

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<pre>programmes, like the Nederlands Dans Theater and Korzo,
or the recent joint initiative for a preparatory education
programme in Amsterdam. [22] Festivals like DEAF, Oerol,
Fringe and Over ‘t IJ offer a platform to new artists.
    And perhaps most strikingly: talented individuals are
taking control by themselves. This is partly due to cuts, but
also because of the current ‘do it yourself’ attitude: pro-
jects are being independently initiated outside of or right
through the existing infrastructure. These are encouraging
developments.
The Council does see that the responsibility for talent
development is spreading over a larger number of players.
National and municipal governments, public funds, private
                                                                On artists
funds, museums and societies in the basic infrastructure,
vocational arts education, art centres, private persons –
they all play a role in talent development. This could result
in fragmentation, through lack of a clear allocation of
duties and of a view of possible gaps or weak spots.
That is the reverse side of this trend, according to the
Council: the lack of a sustainable character. With all those
informal and small-scale initiatives, the chances for long-
term coaching programmes are smaller, while those are
especially necessary to offer talented individuals a period
of further development after an experimental phase.
    Focus and professional supervision are required to
allow top talent to flourish, providing them with sufficient    28
workplaces, coaching and facilities. When well chosen,
those places and programmes are anchors in the system.
In that context, the Council ascertains that attention is
especially going out to new talent, while the develop-
ment of midcareer talent is stagnating and there are few
regulations for the older artist. In the current mindset,
talent development seems to be limited to the young and
the new. However, almost the entire professional life of
an artist can be seen as a process of talent development.
</pre>

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<pre>Visuals arts and theatre/dance in particular are seeing a
quick succession of new shows and exhibitions. The focus
is on experimental and avant-garde work, resulting in a
quick alternation of artists and productions. Art critic and
architect Sam Jacob talks about a Vomitorium, a system
that spits out art before it has been digested. [23] The rapid
turnover rate – the notion that every production should
be innovative and employ new young talent – contributes
to hasty production and consumption. This superficiality
can strip art of its force.
                                                                 On artists
                                                                 29
</pre>

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<pre>‘Laya Papaya Public Bath’,Jasper Griepink TENT
                                          De taak van de raad 30
</pre>

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<pre>   4.   On the audience
Culture works to its full advantage when it is meaningfully
connected to the audience. This can be an aesthetic ex-
perience, it can excite emotions or make one think. But the
audience consists of many different groups, each with their
own individual features, changing compositions, preferences
and behaviour. The challenge for artists, institutions and the
government is to see – in a timely manner – what is changing,
why and, especially, how to respond.
The society of experience
  The desire for submersion, intense experiences, ‘atmos-
  phere’ and excitement is increasing. For example, the
                                                                         On the audience
  location musical ‘Soldaat van Oranje’ is an unprecedented
  success. André Rieu fills a packed Vrijthof in Maastricht
  with his music for nights on end. Visits to remarkable,
  spectacular exhibitions and (re-)openings of museums are
  increasing and museum nights are popular. One museum
  director even called visits to museums ‘the new recreatio-
  nal shopping’. Performing arts, media arts and film are
  seeing an increase in visitors to festivals, from blockbusters
  like Lowlands, Oerol or the Parade to more intimate
  festivals like the Dutch Dance Festival, IDFA, the Zeeland
  Nazomerfestival or the Utrecht Early Music Festival.
  Media productions also respond to this ‘hunger for expe-
  rience’. [24] Television shows like ‘De wereld draait door’
  and ‘Wie is de mol’ animate their audience with activities             33
  on different platforms (television, Internet, social media,
  festivals). A culture of experience, festivalization, recreatio-
  nal shopping: we want everything, instantly and every-
  where.
   This need for experience is reflected in the growing number
   of activities during the visit: package deals with several
   cultural activities, preferably with a dinner and after-party. [25]
   This new experience of culture also implies a fading of
   the core business.
</pre>

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<pre>   Other visitors of culture are looking for a more in-depth
   experience. The audience does not just accept something.
   It wants an appropriate story connected to the art at the
   place where it is experienced: not just the event programme,
   but also the story of the artist, the apps that provide visi-
   tors of museums, archives and monuments with specifically
   tailored information, the tour behind the scenes.
       Some visitors of culture find meaning, comfort or relief
   in art. Alain de Botton and John Armstrong, for example,
   responded to this trend with their much-discussed exhibi-
   tion ‘Art is therapy’ in the Rijksmuseum.
More cultural omnivores, but with like-minded people
  Culture lovers used to be predictable to a certain degree,
                                                                    On the audience
  but now they attend Het Zuidelijk Toneel and the Arctic
  Monkeys as well as a dance event, and they visit both the
  Rijksmuseum and the gallery around the corner. Other
  arts visitors with a comparable background can, in turn,
  have very different preferences. [26] Participants of culture
  do not let themselves be fixed: they have many options
  for spending their scarce free time. Subscriptions to perfor-
  ming arts are declining, whereas the number of ‘Museum-
  kaarten’ is growing: this card offers visitors the freedom to
  determine for themselves which museum they go to and
  when. We want this flexibility and we do not want to plan
  too far ahead, unless we have to.
   The cultural participant is moving through all genres and        34
   segments, but with like-minded people on every occasion.
   The participant is turning into a cultural and social
   omnivore that individually (and often incidentally) joins
   societies and communities of different tastes. [27] The desire
   to ‘experience together’ – social consumption – is not
   declining in the least. It is just a new way of connecting
   people through culture.
</pre>

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<pre>   This connection is no longer established through traditio-
   nal presentations or at the same cultural institution, but at
   the festival, around a musical genre or as fans of an artist.
   This is no different in broadcasting, where the importance
   of membership is declining, but the attachment to pro-
   grammes and genres is growing.
Canonical culture threatens to lose ground
  Although we are becoming cultural omnivores, the current
  trend predicts a future decrease of interest in canonized
  art forms – assuming circumstances remain the same. For
  some time now, there has been a pattern where popular
  art is especially visited by youth, whereas the elderly mainly
   visit traditional art. However, current developments show
                                                                   On the audience
  that youth now seem to remain focused on ‘their’ culture
  as they grow older.
      The SCP talks of ‘cohort replacement’ in this regard,
  resulting in an ageing and eventually shrinking audience
  of traditional cultural activities. [28] The audience of the
  future – the Facebook generation but also the ‘new Dutch
  people’, integrated immigrants – does not really connect
  with many canonized art forms, or has never come around
  to knowing them.
   These developments are best illustrated at this moment
   by the traditional performing practice of classical music,
   but several other art disciplines deal with them too.
   Literature is also coping with a shrinking audience. [29]       35
   Pop music, film and some museums are the only sectors
   that are growing and that continue to raise the interest
   of young people, despite the economic crisis. [30]
       Especially in those sectors, the possibilities of
   digital distribution have led to new avenues of supply
   and demand.
   Canonized art forms still have a chance, however. The
   increase of visits to museums with special exhibitions and
   re-openings and new presentation forms at festivals illus-
</pre>

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<pre>   trate the fact that there are other ways to keep an audience
   interested and connected, sometimes even to traditional art
   forms. Spending more time on art and culture in primary
   and secondary education can also reverse the trend; getting
   to know different art forms at a young age increases the
   chances of visits at a later age. [31]
Audience searches for new guidelines
  There is a wide supply and rapid circulation of art and
  heritage in the Netherlands. Theatres, museums, concert
  halls, libraries, galleries, bookshops, art cinemas – they
  used to be the obvious links between supply and demand
  in the arts. Now, however, a museum, theatre or concert
  hall is no longer the ‘logical’ place for people looking to see
                                                                    On the audience
  art or heritage. The traditional chain is broken: societies
  are finding their own places to perform, artists are seeking
  direct contact with the audience, readers are buying their
  books on the internet, the audience is independently
  choosing the places it wants to visit or can simply consume
  culture on a tablet or laptop. The audience is paying less
  attention to the seasonal programme of an institution and
  is less influenced by the natural authority of experts and
  institutions. The audience is using the Internet’s search
  engines to look for what is on offer and is more guided
  by tips of like-minded people in a community of taste. [32]
   Theatres and museums are trying to find new ways of
   drawing attention to art in order to bring it to their target    36
   audience. [33] Some are succeeding more than others.
   An individual and especially recognizable profile seems to
   have become crucial for theatres and museums in the 21st
   century. The right target audience can be reached in many
   ways: with individual programmes, through specialization,
   by combining entertainment with more complex content or
   by offering a story for a particular art object.
</pre>

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<pre>Waanzien MOTI, Museum of the Image
         De taak van de raad       37
</pre>

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<pre>   5.   In conclusion
In this survey, the Council has outlined a number of develop-
ments in cultural life. On the surface, the Netherlands can be
seen as a country with a lively arts scene, with seemingly much
diversity, breadth and participation. Cultural policy allows
for that in many ways. However, just as it is hard to see the
strength of a bridge or building’s construction from the
outside, it is hard to see from a distance that cultural policy
is facing a number of fundamental challenges. The Council
wants to stress the urgency of those challenges.
– The passion and persistence of artists in times of crisis and
  cuts are enormous: many become self-employed, make
                                                                      In conclusion
  new connections and organize themselves in networks with
  little hierarchy.
       However, this development at the same time masks an
  increasing amount of unemployment and underpayment.
  It was hoped that more private financing would compensate
  for the decline in public financing for the art and heritage
  sectors, but this has not happened.
– Urbanization and globalization persist. For cultural insti-
  tutions, the city is home base and the world is the playing
  field. Cities are characterizing themselves through culture,
  guided by their own challenges and ambitions. Our cultu-
  ral policy is hardly anticipating that. It is nationally oriented
  and reasons especially from national borders.                       41
– Digitization has a large influence on cultural production
  and consumption. It breaks with traditional business mo-
  dels, while no new business models have replaced them
  yet. The government is reserved, whereas the development
  of new forms of financing demands attention.
</pre>

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<pre>– The focus is mainly on new talent, new shows and exhi-
  bitions. The focus on a more in-depth experience and
  development of top creations is decreasing. Quality can
  therefore become undermined. The informal and small-
  scale initiatives for talent development are encouraging,
  but lack a sustainable character. Attention is focused
  mostly on short programmes with little space for deeper
  experience and further development.
– Art only works when it communicates with the audience.
  Through different patterns in leisure activities, supply
  and demand in the arts are increasingly losing touch with
  each other. The canonical arts are losing ground, even
  though government policy mostly focuses on that part of
                                                                 In conclusion
  the arts. There is an ageing trend and new audiences
  are not interested. Here lies a great challenge.
     Many subsidized cultural institutions have a hard
  time responding to changes in composition, preferences
  and behaviour of the audience.
– Subsidy frameworks are increasingly specific, output
  demands are becoming more precise and the weight of
  quantitative indicators is growing. In contrast, artists and
  cultural institutions are forming new connections across
  the boundaries of disciplines, with other sectors or right
  through the traditional chain of production and consump-
  tion. This movement demands regulatory flexibility.
                                                                 42
</pre>

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<pre>These developments pose dilemmas for the cultural sector
and make the government consider the need for different
policies. The Council thinks new policies are indeed required.
This should not necessarily be in the form of full-scale system
reforms, but the Council does recommend a reorientation
that will allow the cultural sector to better respond to these
trends. In the coming months, the Council will discuss
the nature of this reorientation. In the spring of 2015, it will
publish an advisory on cultural policy for the period from
2017 onwards.
    The Council invites those involved in and lovers of art
and culture to think about this and to express their opinions.
It is important and urgent. The future of art and culture
deserves a good debate. Especially now, when so much is
                                                                   In conclusion
happening – both in the world and in the arts.
                                                                   43
</pre>

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<br><br>====================================================================== Pagina 32 ======================================================================

<pre>Nature Theatre Naturalis
               De taak van de raad 45
</pre>

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<br><br>====================================================================== Pagina 33 ======================================================================

<pre>The Part in the Story Witte de With</pre>

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<pre>Volkskrantdag EYE Film Institute</pre>

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<br><br>====================================================================== Pagina 35 ======================================================================

<pre>Appendices
             De taak van de raad   49
</pre>

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<pre>Notes
  1                        the media sector as         10
‘Cultuur in Beeld’,        part of its advice         See the publications
OCW, 2013.                 ‘De tijd staat open.       ‘Rijksbrede Trendver-
‘Lokaal stelsel actieve    Naar een toekomst-         kenning’, Strategie-
cultuurparticipatie        bestendig media-           beraad Rijksbreed,
in transitie’, Landelijk   bestel’, 2014.             2013 and the work
Kenniscentrum voor                                    of Benjamin Barber,
Cultuureducatie en           6                        among others.
Amateurkunst, 2014.        As, for example, the
                           entertainment sector        11
  2                        and the creative cor-      Advisory ‘Perspectief
‘Cultuur in Beeld’,        porate services (the       voor steden’, commis-
OCW, 2013.                 creative industry).        sioned by the Vereni-
‘Lokaal stelsel actieve                               ging Nederlandse
cultuurparticipatie          7                        Gemeente, 2014.
in transitie’, Landelijk   In this survey, the        ‘De culturele stad’,
Kenniscentrum voor         terms ‘culture’ and        Cor Wijn, 2013.
                                                                               Appendices
Cultuureducatie en         ‘arts’ are used as
Amateurkunst, 2014.        collective terms for        12
                           all forms of culture:      For numerous exam-
  3                        architecture, visual       ples, see ‘Beyond the
‘Directe subsidies         art, heritage, film,       black box en the white
voor kunsten, erfgoed      literature and perfor-     cube’, Johan Idema en
en media.’ B. Vinken-      ming arts as well as       Roel van Herpt, 2010.
burg, in: Boekman-         design. The Council        ‘Tien jaar
stichting en SCP,          uses the term ‘artist’     Expanding Theatre’,
De Staat van Cultuur,      in a broad sense: it in-   Stadsschouwburg
2013.                      cludes creators, deve-     Amsterdam, 2012.         Notes
                           lopers and designers.
  4                                                    13
In the ‘Sectorplan           8                        ‘Dutch Culture’,
Cultuur’, Federatie        ‘Kunst op Mars.            Buitengaats, 2012.
Cultuur indicates that     De nieuwe generatie
the number of contri-      over de culturele           14
butors to the cultural     sector in de toekomst’,    Here, Stichting RIBO     51
sector has already         C. Julien, 2014.           and nearly all munici-
decreased by around                                   palities signed an
3.000 in 2013 alone          9                        updated version of the
and the number of          See, for example,          agreement ‘Restau-
bankruptcy cases has       the letter ‘Cultuur        ratie’ in November
increased with 63%         verbindt’ on the           2013. Central in the
in that period, 2014.      relationship between       agreement is the re-
                           culture and other          tention of specialist
  5                        societal sectors, which    expertise by offering
The Council pre-           the Ministry of OCW        young people
viously presented a        will publish in 2014.      the chance to become
trend analysis for                                    restoration experts.
</pre>

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<pre>  15                      and from 21 to 16%          23
According to the          in visual arts. This      See the article by this
baseline of the top       decline happened          architect from 2013:
sector monitoring         prior to the cuts.        ‘How can culture
study of the CBS,         Across the entire pe-     exist in a stream
47% of people wor-        riod of 2007 – 2013,      of photoshopped
king in the creative      the National Centre       incontinence?’.
sector are self-          of Expertise for Cul-
employed, and this        tural Education and         24
is up to 96% in the       Amateur Arts reports      This term (originally
subsector ‘art’, 2012.    a decline of approxi-     ‘ervaringshonger’)
                          mately 7% in active       was borrowed from
  16                      participation in the      the article by Ineke
‘De hybride kunste-       arts by persons over      van Hamersveld,
naar’, C. Van Winkel,     six years old, ‘Map-      ‘Ervaringshonger.
P. Gielen, K. Zwaan,      ping document’, 2014.     Intensivering van
AKV|St. Joost, Avans      Source: ‘Cultuurpar-      de ervaring bedreigt
                                                                              Appendices
Hogeschool, 2012.         ticipatie minder beoe-    kritisch oordeel’,
                          fening en consump-        Boekmancahier 94.
  17                      tie’, A. van den Broek,
‘Spelen voor de kost.     K. van Eijk, in:            25
Werk en inkomsten         De Cultuurindex.          ‘Highbrow, omnivore
van acteurs in Neder-                               and voracious cultural
land’, FNV-KIEM,            20                      consumption patterns
2010.                     ‘Meedoen is de kunst.     in the Netherlands.
                          Advies over actieve       An explanation of
  18                      cultuurparticipatie’,     trends between 1975
‘Cultuur in Beeld’,       Raad voor Cultuur,        and 2005’, K. van         Notes
Ministerie van OCW,       februari 2014.            Eijk, G. Kraaykamp,
Den Haag, 2013.                                     2014.
‘Lokaal stelsel actieve     21
cultuurparticipatie       ‘Slagen in Cultuur,         26
in transitie’ LKCA,       Culturele basis-          They are not the
Utrecht, 2014.            infrastructuur            familiar target audien-
                          2013 – 2016’,             ces of before, when       52
  19                      Raad voor Cultuur,        age, socio-economic
In 2011, the percen-      Den Haag, 2012.           class, gender, educa-
tage of people aged                                 tion and geographical
sixteen and over            22                      location were consi-
who were regularly        An initiative by Like-    dered. Now audience
active in amateur art     minds, Stadsschouw-       groups are recognized
decreased compared        burg, Toneelgroep         around socio-psycho-
to 2007: from 12 to       Amsterdam and             logical typifications,
10% for playing an        Frascati, May 2014.       as can be seen at
instrument, from 9 to                               research institutes
8% for singing, from                                like Motivaction and
14 to 10% in theatre                                Sencydiam/Ipsos.
</pre>

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<pre>These typifications          32                       That is very different
used to be fixed, but      An example of a new        from simply hiring
in the past years their    guiding role is the        the best conductor for
boundaries have been       initiative Go-Public,      the finest repertoire
shown to be amor-          a membership               in the most brilliantly
phous; on weekends,        through which mem-         devised programme.’
the cosmopolitan is        bers receive selected
also a hedonist.           cultural offerings.
  27                         33
The ‘Rijksbrede            In the NRC of 9 Janu-
Trendverkenning’           ary 2014, Hans Waege,
of 2013 talks of ‘triba-   director of the Rotter-
lization’ (originally      dam Philharmonic
‘tribalisering’) in this   Orchestra, comments:
regard.                    ‘If you go to a concert
                           at de Doelen tonight,
                                                                                Appendices
  28                       you will find the buil-
‘Kunstminnend              ding dark when you
Nederland?’, Sociaal       arrive. At a quarter
Cultureel Planbureau,      past seven, the lights
2013.                      go on, and only then
                           the hall starts to
  29                       come alive. This is
‘Cultuurparticipatie:      not possible in the 21st
minder beoefening          century. When the
en consumptie’, in:        audience comes to the
Boekmanstichting en        theatre for a one-hour                               Notes
SCP, ‘De Staat van         concert, and nothing
Cultuur’, A. van den       happens prior to that
Broek, K. van Eijk,        concert, you cannot
2013.                      innovate. We also com-
                           pete with the possibi-
  30                       lities of recreating at
‘Kunstminnend              home, which include                                  53
Nederland?’,               the iPad. This has
Sociaal Cultureel          created a new world
Planbureau, 2013.          that art institutions
                           should not regard with
  31                       disdain. No way. […]
‘Cultuureducatie.          We need to realize that
Leren, creëren,            we are facing gigantic
inspireren!’               changes. We need to
Raad voor Cultuur,         listen to the audience
Den Haag, 2012.            and ask questions.
</pre>

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<pre>References
Barber, B.               duurzaamheid in         Landelijk Kennis-
If mayors ruled the      de archiefsector        centrum voor
world. Dysfunctional     Den Haag, 2012          Cultuurparticipatie
nations, rising cities                           en Amateurkunst
2013                     Erfgoedinspectie        Lokaal stelsel actieve
                         Duurzaam duurt          cultuurparticipatie
Boekmanstichting/        het langst. Digitali-   in transitie
Sociaal en Cultureel     sering en duurzame      Utrecht, 2014
Planbureau               toegankelijkheid van
De Staat van Cultuur.    informatie bij de       Idema, J. en
Lancering Cultuurin-     kerndepartementen       Van Herpt, R.
dex Nederland            Den Haag, 2013          Beyond the black box
Amsterdam, 2013                                  and the white cube.
                         Filmonderzoek           Hoe we onze musea
Broek, A. van den,       Dashboard Bioscoop-     en theaters kunnen
Eijk, K. van             bezoek 2013             vernieuwen
Cultuurparticipatie.     2013                    2010
                                                                          Appendices
Minder beoefening en
consumptie. De Staat     Filmonderzoek/          Ministerie van OCW
van Cultuur              Filmtest                Cultuur in beeld
Boekmanstichting/        Het publiek en de       Den Haag, 2013
Sociaal en Cultureel     Nederlandse speel-
Planbureau, 2013.        film: een verkenning    Ministerie van OCW
                         van de nationale        Kunst in cijfers
Broek, A. van den.       markt                   Den Haag, 2013
Kunstminnend             september 2013
Nederland? Interesse                             Nederlands
                                                                          References
en bezoek, drempels      Hamersveld van, I.      Filmfonds
en ervaringen. Het       Ervaringshonger.        Film Facts and Figu-
culturele draagvlak,     Intensivering van       res of the Netherlands
deel 12                  de ervaring bedreigt    september 2012
Sociaal en Cultureel     kritisch oordeel
Planbureau,              Boekmancahier 94        Oxford Economics
Den Haag, 2013                                   Economic Contri-
                         Huysmans |              bution of the Dutch      55
Daamen, M.               WareKennis              Film and Audio-
Tien jaar                Media, informatie       visual Industry.
expanding theater        en communicatie.        Final Report
Amsterdam, 2012          Trends en beleid        september 2013
                         Den Haag, 2013
Digitaal Erfgoed                                 Raad voor Cultuur
Nederland (DEN)          Kunsten ’92             Slagen in cultuur.
Nulmeting Archief        Het Beeld van           Culturele basisinfra-
2020. Kwantitatieve      de Sector               structuur 2013 – 2016
schets van digitale      december 2012           Den Haag, 2014
</pre>

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<pre>Raad voor Cultuur      SEO Economisch           Vereniging Neder-
De tijd staat open.    Onderzoek                landse Gemeenten
Naar een toekomstbe-   Economische kern-        Perspectief voor de
stendig mediabestel    gegevens Nederlandse     steden. Advies van de
Den Haag, 2014         film. Quickscan          commissie Derksen
                       september 2012           Den Haag, 2014
Raad voor Cultuur
Meedoen is de kunst.   Sociaal Cultureel        VFI brancheorga-
Advies over actieve    Planbureau               nisatie van goede
cultuurparticipatie    Kunstminnend             doelen
Den Haag, 2014         Nederland? Interesse     Goede Doelen
                       en bezoek, drempels      Rapport 2013
Raad voor Cultuur      en ervaringen            Amsterdam, 2013
Noodgedwongen          Den Haag, 2013
keuzen. Advies                                  Vinkenburg, B.
bezuiniging cultuur    Sociaal Cultureel        Directe subsidies
2013 – 2016            Planbureau               voor kunsten,
                                                                           Appendices
Den Haag, 2011         De Sociale Staat van     erfgoed en media
                       Nederland 2013           in: Boekmanstichting
Raad voor de           Den Haag, 2013           en SCP. De Staat
Leefomgeving en                                 van Cultuur
infrastructuur         Sociaal Cultureel        Amsterdam, 2013
De Toekomst van de     Planbureau
Stad. De kracht van    Met het oog op de tijd   Vlies, I. van der (red.)
nieuwe verbindingen    Den Haag, 2013           Kunst, recht en geld
Den Haag, 2014                                  Den Haag, 2012
                       Stimuleringsfonds
                                                                           References
Raad voor de           voor de Pers             Vree, F. van
Leefomgeving en        De krant doorgeklikt     Overheid, media en
infrastructuur         Apeldoorn, Antwerpen,    openbaarheid
Kwaliteit zonder       2007                     Mediafonds
groei. Over de                                  Amsterdam, 2012
toekomst van de        Strategieberaad
leefomgeving           Rijksbreed               VSCD
Den Haag, 2014         Rijksbrede Trend-        Podia, cijfers en ken-     56
                       verkenning               getallen 2008 t/m
Raad voor het          Den Haag, 2013           2012
Openbaar Bestuur
Gij zult openbaar      Telos                    Wijn, C.
maken. Naar een vol-   Nationale monitor        De culturele stad
wassen omgang met      gemeentelijke            Nijmegen, 2013
overheidsinformatie    duurzaamheid 2014
Den Haag, 2012         Tilburg, 2014
</pre>

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<pre>Twools Scapino</pre>

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<br><br>====================================================================== Pagina 42 ======================================================================

<pre>Colophon
The Cultural Survey
Developments and trends in the
cultural life in the Netherlands
This survey is a publication of
Raad voor Cultuur /
Council for Culture
Members
Joop Daalmeijer
  chairman
Melle Daamen
Jessica Mahn
Caroline Nevejan
Annick Schramme
Rocky Tuhuteru
Mathieu Weggeman
                                           Colophon
Jeroen Bartelse
  general secretary
Council for Culture
Prins Willem Alexanderhof 20
2595 BE Den Haag
Postbus 61243
2506 AE Den Haag
070 – 3106686
info@cultuur.nl
www.cultuur.nl
Design
Daphne Heemskerk
Translation
Marleen van Os
Photography
Aad Hoogendoorn                            61
The information in this publication
may be reproduced, in part or in whole
and by any means, without charge or
further permission from the Council
for Culture, provided that due diligence
is exercised in ensuring the accuracy
of the information reproduced and that
the Council for Culture and this
publication are identified as sources.
No rights may be derived from this
publication.
Den Haag, June 2014
</pre>

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<pre>                      The Council for Culture is the legal adviser
                      of the government in the fields of the arts,
                      culture and media.
                      The Council is independent and provides
                      recommendations regarding cultural policy
                      and subsidy applications in the Netherlands,
                      whether it is requested of them or not.
De taak van de raad
62
</pre>

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<br><br>