Until approx. 2014 and “[i]n partnership with CEPS/INSTEAD, the ministry of Culture ha[d] developed and financed the “Cultural practices in Luxembourg” programme, an observation tool aimed at measuring the evolution of the dissemination of different cultural practices and the profile of audiences over time. The analyses of the (…) programme [were] mainly carried out on the basis of data from the “Culture Surveys”, carried out every ten years (1999 and 2009). It [was] the main instrument for monitoring cultural behaviours in Luxembourg, as well as by means of intermediary surveys on specific aspects and questions relating to culture (reading, music, young people, etc.).”[1]
As the authors of the 2009 synthesis stated, “The completion of a new survey on cultural practices in Luxembourg in 2009, ten years after the first of its kind at national level, [was] an opportunity to take stock of the major changes that have recently affected the conditions of access to art and culture. Overall, we see a consecration of screen culture with the rise of audiovisual media and the decline or stagnation of more traditional media. Cultural participation is also on the rise: performing arts, literature and the amateur arts are doing relatively well in the residents’ leisure habits. Although the survey concerned the entire resident population, it did not allow to fill the gaps that appear between the different social categories of the population in terms of access to arts and culture.”[2]
For a small country such as Luxembourg, statistical data collection is met with many challenges. The statistical cell within the ministry of Culture has effectively stopped working in 2014 and only resumed operations in 2021. Thus, only data from the two large studies on cultural practices mentioned above is available while changes in society (migratory flows, new digital uses, etc.) have had a considerable impact on the modes of reception of works and cultural consumption, making the need for a new survey evident.[3] The fieldwork of the new large study of cultural practices (with a focus on museums) has started at the end of 2020 and the results should be available mid-2022. The ministry of Culture is also in the process of establishing a culture observatory, which will complement the work done by the statistical cell.
What partially helps this situation is that, in the framework of its impact research, Esch2022 European Capital of Culture has commissioned a 2021 study with a local market research and opinion polls institute that – while it was not its main objective – also asked questions about the cultural practices right before the pandemic started. It was a representative study of the population of the Grand Duchy of Luxembourg, covering 1,160 residents of various social and demographic categories.[4] As these have not been published yet, for the purpose of this publication, we mainly need to rely on data up to 2009.
Table 3: People who participated in or attended a certain cultural activity during the last 12 months in Luxembourg (in % of the population, over 3 available years)
|
|
1999 |
2009 |
|
|
|
Activities heavily subsidised by the state |
|
|||
|
Theatre |
25% |
35% |
|
|
|
Opera performances |
Data not available |
Data not available |
|
|
|
Zarzuela |
Data not available |
Data not available |
|
|
|
Dance |
9% |
17% |
|
|
|
Concerts |
38% |
57% |
|
|
|
Libraries |
14% |
24% |
|
|
|
Museums |
38% |
50% |
|
|
|
Monuments |
36% |
62% |
|
|
|
Cultural centres |
|
|
|
|
|
Spectacle de rue |
24% |
49% |
|
|
|
Cirque |
11% |
16% |
|
|
|
Exposition, galerie |
33% |
47% |
|
|
|
Activities without large public subsidies |
|
|||
|
Cinema |
50% |
66% |
|
|
|
To read books not related to the profession or studies |
51% |
68% |
|
|
|
In paper format (Usually use) |
|
|
|
|
|
In digital format (Usually use) |
|
|
|
|
|
Directly on the Internet (Usually use) |
|
|
|
|
|
To listen to music (Usually listen) |
88.6%[5] |
Data not available |
|
|
|
In a computer or directly on the Internet |
|
|
|
|
|
To read periodic publications (magazines) (Usually read) |
75% |
71% |
|
|
|
Directly on the Internet |
|
|
|
|
|
To watch videos (Usually watch) |
50.3%[6] |
50.6%*[7] |
|
|
|
Directly on the Internet |
|
|
|
|
|
To watch television (Usually watch) |
97.9%[8] |
97%[9] |
|
|
|
Directly on the Internet |
|
|
|
|
|
To listen to the radio (Usually watch) |
90.1%[10] |
90% |
|
|
|
Directly on the Internet |
|
|
|
|
|
To play videogames (Usually play) |
Data not available |
Data not available |
|
|
|
To use computer for entertainment or leisure (Usually use) |
Data not available |
** |
|
|
|
Internet for entertainment or leisure (Usually use) |
Data not available |
*** |
|
|
Source 1999 and 2009: Enquête Culture 2009 et PSELL-2/1999, Ministère de la Culture et CEPS/INSTEAD[11]
In terms of time spent in front of the screen, data from 2009 shows that 3h50min daily were spent on average daily, as shown below:
Figure 4. Time spent in front of the screen, 2009[12]
Source: Enquête Culture 2009, Ministère de la Culture et CEPS/INSTEAD.
*Regarding videos, the number varies greatly depending on the age, ranging from 60% (25 year-olds and older) to 78% (younger than 25 years), as show below:
Figure 5. Consumption of videos (%), 2009 [13]
Source: Enquête Culture 2009, Ministère de la Culture et CEPS/INSTEAD
**The prevalence of different types of use of computer for culture-related purposes is presented in the following figure:
Figure 6. Pratiques numériques culturelles selon la classe d’âges (%), 2009 [14]
Source : Enquête Pratiques culturelles 2009, Ministère de la Culture et CEPS/INSTEAD. Champ : * Les utilisateurs d’ordinateur
Note de lecture : 91% des moins de 25 ans utilisent un ordinateur. Et parmi ces jeunes utilisateurs, 4% l’utilisent pour créer de la musique.
*** Personal usage of internet (at least on a monthly basis) corresponds to 69% respondednts (but this might not fully match the definition of “entertainment or leisure”). When it comes to the use of internet for communication and cultural purposes, it also varies greatly per age of the user, as shown below:
Figure 7. Les usages communicationnels et culturels des internautes au moins mensuels selon l’âge (%) en 2009 au Luxembourg
Source : Enquête Pratiques culturelles 2009, Ministère de la Culture et CEPS/INSTEAD Champ : Les usagers au moins mensuels d’Internet[15]
The percentage of population performing artistic activities has largely increased across main cultural domains from 1999 to 2009. As the authors of the study summarise: “In 2009, we observe a certain enthusiasm for amateur artistic activities that marks the development of a more expressive culture. The share of the population developing an activity related to an artistic field has thus almost doubled in ten years. A large proportion of this evolution is due to the considerable growth of photography activities during this period. This spectacular craze for photography and, to a lesser extent, cinema, can easily be explained by the arrival in force of digital technology on the market and the extremely rapid equipment of homes in this area. (…) Alongside amateur audiovisual practices, the visual arts (drawing, painting), dance, and even writing, are also increasingly favoured by the population. In the end, almost 4/5ths of the population took part in an artistic practice as an amateur in 2009, i.e. almost twice as many as in 1999. And if we exclude the taking of photographs or video films, activities that do not necessarily correspond to an artistic approach, it is still 60% of the population who invest in artistic hobbies as an amateur.”[16] An overview of this development can be seen in the Table 4 below:
Table 4: People who have carried out artistic activities in Luxembourg in the last 12 months by type of activity, in % of total population, period 1999-2009
|
|
1999 |
2009 |
|
Writing |
5% |
9% |
|
Painting, sculpture, engraving |
10% |
16% |
|
Drawing |
10% |
22% |
|
Other visual arts (pottery, ceramics, bookbinding) |
4% |
6% |
|
Photography |
25% |
68% |
|
Making videos |
14% |
26% |
|
Drama (theatre) |
3% |
4% |
|
Dance |
6% |
21% |
|
Music |
11% |
13% |
|
Singing |
5% |
5% |
Source: Enquête Culture 2009 et PSELL-2/1999, Ministère de la Culture et CEPS/INSTEAD[17]
[1] After: Bardes, J., & Borsenberger, M. (2011). Les Pratiques culturelles et médiatiques au Luxembourg. Eléments de synthèse de l’Enquête Culture 2009. Esch-sur-Alzette: CEPS/INSTEAD, p. 2.
[2]Bardes, J., & Borsenberger, M. (2011). Les Pratiques culturelles et médiatiques au Luxembourg. Eléments de synthèse de l’Enquête Culture 2009. Esch-sur-Alzette: CEPS/INSTEAD, p. 2.
[3] Kulturentwécklungsplang 2018-2028, p. 154.
[4] Jacques Maquet – Esch2022 asbl.
[5]Aubrun, A., Borsenberger, M., Hausman, P., & Menard, G. (2006). Les pratiques culturelles au Luxembourg. CEPS/INSTEAD, p. 26.
[6]Aubrun, A., Borsenberger, M., Hausman, P., & Menard, G. (2006). Les pratiques culturelles au Luxembourg. CEPS/INSTEAD, p. 24.
[7] Borsenberger, M. (2014). Les pratiques culturelles des digital natives au Luxembourg. La culture de l’écrit : la presse et les livres. CEPS/INSTEAD, p. 11.
[8]Aubrun, A., Borsenberger, M., Hausman, P., & Menard, G. (2006). Les pratiques culturelles au Luxembourg. CEPS/INSTEAD, p. 24.
[9]Lamour, C., & Lorentz, N. (2013). Nationalités et pratiques télévisuelles au Luxembourg : une approche du “vivre ensemble” dans la mosaïque européenne. CEPS/INSTEAD, see Table 2 on p. 7.
[10]Aubrun, A., Borsenberger, M., Hausman, P., & Menard, G. (2006). Les pratiques culturelles au Luxembourg. CEPS/INSTEAD, p. 24.
[11]Bardes, J., & Borsenberger, M. (2011). Les Pratiques culturelles et médiatiques au Luxembourg. Eléments de synthèse de l’Enquête Culture 2009. Esch-sur-Alzette: CEPS/INSTEAD, p. 10.
[12] Bardes, J., & Borsenberger, M. (2011). Les Pratiques culturelles et médiatiques au Luxembourg. Eléments de synthèse de l’Enquête Culture 2009. Esch-sur-Alzette: CEPS/INSTEAD, p. 5.
[13] Borsenberger, M. (2014). Les pratiques culturelles des digital natives au Luxembourg. La culture de l’écrit : la presse et les livres. CEPS/INSTEAD, p. 11.
[14] Borsenberger, M. (2014). Les pratiques culturelles des digital natives au Luxembourg. La culture de l’écrit : la presse et les livres. CEPS/INSTEAD, p. 15.
[15] Borsenberger, M. (2014). Les pratiques culturelles des digital natives au Luxembourg. La culture de l’écran : pratiques multimédia et numériques. CEPS/INSTEAD, p. 14.
[16] Bardes, J., & Borsenberger, M. (2011). Les Pratiques culturelles et médiatiques au Luxembourg. Eléments de synthèse de l’Enquête Culture 2009. Esch-sur-Alzette: CEPS/INSTEAD, p. 10.
[17] Bardes, J., & Borsenberger, M. (2011). Les Pratiques culturelles et médiatiques au Luxembourg. Eléments de synthèse de l’Enquête Culture 2009. Esch-sur-Alzette: CEPS/INSTEAD, p. 11.
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