2. Current cultural affairs
The Netherlands
Last update: March, 2026
Covid-19 and its aftermath
When the Covid-19 pandemic hit in March 2020, the state government introduced different forms of support. Part of this support was leniency towards the goals organisations were supposed to achieve around their activities. Soon after, as result of a successful lobby by the cultural sector, more special support was secured for the cultural sector, in addition to the general support funds for Dutch enterprises. Approximately €3.3 billion in general support and €2 billion in targeted national support reached the cultural and creative sector. These are substantial amounts, considering that the government’s total annual expenditure on culture is just over €1 billion (see table 6a). These funds helped to keep almost all subsidised cultural organizations from falling into financial distress. Commercial cultural organisations and self-employed cultural workers had more problems surviving the Covid-crisis.[1]
Discussion about the subsidy system
In 2023, State Secretary Gunay Uslu (2022-2023) requested the Council for Culture to critically review the existing subsidy system, since it was no longer deemed suitable.
One of the issues is the apparent concentration of BIS-subsidies in the Randstad (the western more urbanised part of the Netherlands). It is fair to say that the differences between the centre (Randstad) and the region in the Netherlands in terms of access to culture are relatively small compared to most other European countries. But the subject remains important in the policy debate. Other points of discussion included the assumed lack of access to the system of newer cultural expressions and the administrative burden and a lack of trust of the system.
The Council published its advice Access to culture - towards a new system in 2029 in January 2024. In its advice, the Council proposed a duty of care for culture on the part of the central, provincial and municipal governments and the creation of one big culture fund with an extended regional role. Additionally, the Council argued that the subsidy system should be accessible to a broader range of artists, cultural organisations and types of culture. The Council proposed a more open and varied funding methodology that can effectively respond to the diversity and dynamism within the sector, including funding for eight years for a limited number of large or unique cultural organisations within the national portfolio.
On October 3, 2025, the caretaker cabinet, at the proposal of Minister Gouke Moes, decided that national subsidies may be granted for a maximum of 8 years starting in 2029, instead of the current maximum of 4 years. A change in the law is required for this. After the elections in october 2025, the new government and the new parliament must decide what will be realised of this proposal.
Reform of the Public Broadcasting System
In his letter to Parliament of 4 april 2025, former Minister Eppo Bruins outlined reform plans for the national public broadcasting system. The key points include:
- Reducing the number of broadcasting organizations from thirteen to four or five as of 2029, to reduce administrative complexity.
- Abolition of the current membership requirement, as membership figures have steadily declined.
- External pluralism (through distinct, competing member organizations) will be replaced by a statutory obligation for the new broadcasting organizations to reflect societal diversity.
In October 2024, Minister Bruins outlined a reform plan for the Dutch local public broadcasters, aimed at strengthening their role as a local guardian of democracy. Many local broadcasters face financial fragility, with some in unsustainable positions according to the Dutch Media Authority (Dutch: Commissariaat voor de Media). The reforms aim for:
- Transferring the funding of local public broadcasters from the Municipal Fund to the national government.
- Increased professionalism through an additional annual investment of €18 million.
- Greater resilience through scaling up operations
- Improved coordination by assigning a coordinating role to the Dutch Local Public Broadcasting Foundation (NLPO).
Cultural labour market
The precarious labour position of those working in arts and culture continues to be a theme in the Dutch cultural policy. A study from the Social and Economic Council (SER) showed that the labour position of people in the cultural sector is concerning. This knowledge led to development of the ‘the Netherlands Labor Market Agenda’ by Kunsten ’92 (the association for cultural organisations) with recommendations for the Minister. Some important points are improving the position of freelance creative professions; improving the working conditions; and strengthening sector-wide cooperation to conduct a social dialogue, and the introduction of a ‘fair practice code’.
To further develop this Labour Market Agenda, Platform ACCT was established to to initiate and foster discussion about employment conditions and social issues in the cultural sector. In the period 2025-2028 this organisation will have a place within the Cultural Basic Infrastructure (BIS). As of that date, Fair Pay is mandatory for all BIS institutions; the Fair Practice Code is a code of conduct to stimulate this. During the 2025–2028 BIS period, an additional €38,2 million per year has been structurally allocated to help ensure fair remuneration within the State-subsidised cultural sector.
Social significance
The cultural sector has long expressed a desire to make its social significance more visible. This may concern the value an institution provides to its immediate community or its concrete contribution to broader societal challenges. Discussions with the sector have resulted in the inclusion of the criterion “social significance” in the BIS subsidy requirements (see also chapter 2.6 Social inclusion).
[1] For more details about the evaluation of the Corona-support in the Netherlands see: Evaluatie Coronasteun cultuursector. Een synthesestudie)
Last update: March, 2026
The Dutch constitution protects the freedom of speech and states that the central government is obliged to create adequate conditions for the cultural development of all citizens (see chapter 4.1.1). This is elaborated in the Cultural Policy Act (1993), which states that the Minister of Culture is responsible for preserving, developing and disseminating cultural expressions, to be elaborated by each Minister or State Secretary (see chapter 1.1). In line with these legal foundations is the ratification of the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions (see chapter 1.4.2) and the Faro Convention on the Value of Cultural Heritage for Society (chapter 2.6).
In 2019, the Netherlands Institute for Social Research (SCP) published a study about the Dutch identity: Thinking of The Netherlands. In this study, the Dutch language is identified as a key carrier of national identity (see chapter 2.5.4 for policies concerning language). The study also describes how debates about culture, migration and religion have become part of broader identity discussions.
The current debate on identity is taking place in a society that includes people whose ancestors experienced colonialism and slavery from a different perspective than the dominant Dutch historical narrative. As part of ongoing processes of emancipation, there is a call for greater recognition of this history, and this perspective can raise important, though sometimes challenging, questions. Municipalities are increasingly engaging with public debates about statues and street names connected to the colonial past, as well as the annual celebration of Sinterklaas. Museums and the media are involved in similar debates. (See also chapter 3.1 for policies on The National Museum of Slavery and Repatriation of cultural heritage from a colonial context).
The Council for Culture has published the advice on the freedom of artistic expression (Maken (z)onder druk). In recent years, concerns have grown in the arts sector about the actual freedom artists have to create and present their work. While artistic freedom is legally protected, artists increasingly face practical barriers. Topics in youth performances, book readings and public events increasingly trigger unease or protest among audiences. Religious sensitivities and geopolitical tensions also cause programmers to reconsider certain works, sometimes raising safety concerns and leading to self-censorship. The Council states that freedom of expression is one of the central pillars of democracy.
Last update: March, 2026
See chapter 2.1: Key Developments: Labour Market.
Last update: March, 2026
Digital policy
The letter Uitgangspunten cultuursubsidie 2025-2028 (Principles for Cultural Subsidies 2025-2028 June 2023) includes the most recent policy on digital transformation:
- Cultural institutions are asked to outline their digital strategy for the next four years in their activity plans.
- DEN will receive a structural increase in its budget, partly to promote better collaboration and a more proactive attitude within the cultural sector.
- DEN will receive an additional budget (€0.5 million) for the collection and use of audience data in the cultural sector.
Since 2017, DEN has been part of the BIS as the national knowledge institute for digitalisation in the cultural sector, focusing on artistic creation processes, education, public outreach and heritage.
Digital culture is supported through several national subsidy schemes. Since 2023, the Immerse\Interact scheme, a collaboration between the Creative Industries Fund NL and the Netherlands Film Fund, was created to stimulate the development of Extended Reality (XR), among which Virtual Reality (VR) and Augmented Reality (AR). Additionaly, the Creative Industries Immersive Impact Coalition (CIIIC) program was launched in 2025 to support the knowledge, application and valorization of these immersive technologies. Between 2025 and 2030, a total of €275 million will be made available from the National Growth Fund for this programme to put the immersive field in the Netherlands on the map as a frontrunner.
An example of a public-private partnership is DigitAL Culture Desk. This is a counter for cultural institutions that want to strengthen their public offer or contact with the public through the use of digital technology. This is done through the provision of donations, but also through knowledge sharing.
Digital consumption
Digitisation predominantly impacts the way culture is consumed in the Netherlands. In the cases of music, audiovisual content, and games, over 80% of annual revenue is generated through digital distribution, by means of steaming and downloading (see NVPI, Filmfonds and Newzoo). The book market shows a more hybrid consumption pattern, with 44% of book being sold online and 43% of the population occasionally reading e-books (see KVB Boekwerk). The national population survey on cultural participation (VTO) shows a slight increase in the share of Dutch people of 6 years and older that visit performances, exhibitions and visual arts online between 2020 and 2022, probably as result of the Covid pandemic. (see chapter 6.2, or Cultuurmonitor – Participatie). VTO shows that gaming is a popular form of leisure activity – in 2022, 52 percent of Dutch people aged 6 and over said they played video games sometimes (see Cultuurmonitor – Games).
Digital archiving
In 2014 the Digital Heritage Network was launched, with the aim to strengthen the cooperation between different heritage sectors regarding the digitisation of collections and archives. Key supporting partners are large, national institutions (the National Library, the Netherlands Institute for Sound and Vision, the Netherlands Cultural Heritage Agency, the Humanities Cluster of the Royal Netherlands Academy of Arts and Sciences, and the National Archive) that strive to professionally preserve and manage digital data. Heritage organisations and portals were encouraged to take part in the network. In March 2015, the Ministry of Education, Culture and Science presented the first edition of National Digital Heritage Strategy together with the Digital Heritage Network. The current edition is the strategy for 2025-2028. The Network is funded by the Ministry.
The Netherlands engages in international cooperation, including through Europeana, a platform that provides enthusiasts and professionals with access to material on European cultural heritage and is funded by the European Union. Europeana is headquartered in the Netherlands. In 2019, extra subsidy (12,4 million euros) was invested to intensify digital heritage activities. Some conclusions from the evaluation report Stand van het Nederlands Digitaal erfgoed 2021 (State of the Dutch Digital Heritage 2021) give an idea of the state of digital heritage in The Netherlands. 90% of all interested Dutch citizens is digitally reached with heritage content. The "participatory use” among young adults is 26%, in the general public this is 12%.[1]
The new Libraries Act (Wet stelsel openbare bibliotheken, Wsob) that was implemented in January 2015 introduced the creation of a national digital library to make knowledge and information more accessible (see chapter 4.2.5).
For more information, see: Culture monitor Boekman Foundation : Digital Transformation.
[1] The researchers make the remark that it is not entirely clear what is meant by active and/or participatory use.
Last update: March, 2026
In the Netherlands, policy debates on diversity and inclusion have evolved significantly. In the 1980s, cultural policy framed “migrant culture” around integration alongside identity preservation. By the late 1990s, Rick van der Ploeg shifted this focus to “cultural diversity”, promoting diversity in programming, audiences, governance and the inclusion of migrant cultural expressions. Between 2007-2010, Ronald Plasterk introduced an “inclusive policy” approach, alongside the Code Cultural Diversity, which offered a four-P framework (Programme, Public, Personnel and Partners).
In November 2019, the Code Cultural Diversity was replaced by the Code of Diversity & Inclusion (Code D&I), which expands the focus from diversity to inclusion and safe organizational cultures. It provides five guiding principles and practical tools, including scans to help cultural organizations assess their position and identify areas for improvements. In 2022, State Secretary Gunay Uslu reaffirmed diversity and inclusion as policy priorities for 2023-2025. Institutions were required to endorse the Code D&I. In 2024 the Parliament maintained the Code as a guideline rather than a binding requirement.
Over the years, various initiatives from within the cultural sector have aimed to promote and improve multicultural diversity and inclusion within the sector. For example, New Dutch Connections supports Dutch citizens, and in particular refugees, to become participants in the multicultural and religious society. They aim to create a society in which people with a non-Dutch nationality feel at home by means of art, theatre and training. Another example is STUDIO i, which was established by the Stedelijk Museum Amsterdam and the Van Abbemuseum. The organisation characterises itself as “a cultural platform that wants to share inspiring ideas and inclusive initiatives, organise events for museum workers and offer training programmes around diversity, inclusion and equity”.
The Prince Claus Fund, set up in 1996 by the late Royal Highness Prince Claus, operates on an intercontinental scale and aims at increasing cultural awareness and promoting the exchange between culture and development, focusing especially on developing countries. The fund grants subsidies and gives awards to mainly non-European artists and intellectuals. It also creates a platform for debate and stimulates creative processes and artistic productions.
Representation in Dutch cultural boards and staff
In 2025, The Ministry of Education, Culture and Science (OCW) published the most recent monitor on representation in the composition of staff, board members and supervisors, and advisors of Dutch cultural institutions, including an analysis in terms of background. The data collected for this study is based on CBS microdata and an additional survey.
As such, this study shows a gradual increase in the representation of people with a migration background in the work force of Dutch subsidized cultural institutions between 2017 and 2023. This could be a positive result of the before-mentioned Code Diversity and Inclusion. It should be noted that this analysis focuses specifically on migration background as an indicator of diversity, while other dimensions such as gender, age, socio-economic status, sexual orientation, religion, and disability are not included. In addition, the figures describe presentation, but do not in themselves indicate levels of inclusion. Despite the growing representation, studies show that discrimination, inappropriate behavior, and a lack of safety remain ongoing issues within the labor market and workplace.
For the results regarding gender diversity in cultural board members, employees and advisors, see chapter 2.5.5.
Last update: March, 2026
Education in ‘citizenship’ is a crucial initiative aimed at addressing and embracing diversity in education. Since 2006, citizenship has been a compulsory subject in primary, secondary, and special needs education (as laid down in Article 8.3 of the Primary Education Act, Article 17 of the Secondary Education Act, and Article 11.3 of the Expertise Centres Act). Citizenship is not a separate subject in many schools and is often integrated into other subjects, such as social studies and religious education. Due to the considerable autonomy of schools, the way in which citizenship (and thereby diversity) is addressed varies. However, since 2021, new legal requirements have been introduced for the promotion of citizenship in primary education, secondary education, and special needs education, which provides more structure. This legal mandate states that schools must promote 'active citizenship and social cohesion'. Schools must teach all pupils about the fundamental values of the Dutch constitutional state and democracy, such as freedom, equality, and solidarity. In upper secondary vocational education (mbo), there have been statutory requirements in place for a longer time, as set out in the citizenship qualification requirements, which include topics such as democracy, tolerance, and freedom of speech.
How diversity is addressed in (citizenship) education, both separately and in an integrated manner, is not clearly defined. It is a theme in the broadest sense of the word, encompassing cultural, ethnic, and sexual diversity. However, themes such as slavery, religion, looted art, and (de)colonialism are increasingly receiving attention in education. It is also strongly advised to include these themes in the curriculum. For example, a 2023 advisory report recommended giving information about the former colony of the Dutch East Indies a place in the curriculum, and to include it in the core objectives and attainment targets in upper secondary vocational education for the subject citizenship. Research from 2018 suggests that most schools regard cultural diversity as beneficial and therefore address the subject in the classroom. This is especially the case when a large proportion of pupils have a migration background.
There is also increasing attention to diversity and variety in Dutch informal (out-of-school) arts education. Students can learn about world music and international dance, or more modern dance styles such as hip-hop and breakdance. In some music schools, foreign instruments such as the bağlama (saz) are increasingly becoming part of the curriculum. In out-of-school music education, developments are taking place in both the content and the way music lessons are delivered.
Last update: March, 2026
Central in the Dutch media policy are freedom of speech and the independence of journalism. The constitution offers independence of all media. Journalists, writers and broadcasters are free to publish and broadcast as they wish, without any interference from government (Article 7). Public and commercial broadcasters are obliged to take measures to ensure editorial independency of their journalists.
Media ownership
As a result of emerging commercial broadcasters in 1988 and to ensure pluralistic media content, the Media Act was adjusted from 1991 with rules about media concentration and limitations for cross-media ownership. From 2011 onwards, this issue is part of the general rules concerning competition.
In the annual Media Monitor the Dutch Media Authority reports on media developments in the Netherlands with a special focus on news and information, including media concentration. This Monitor is one of the key sources of the Media Pluralism Monitor Report 2025, which concludes about market plurality (the year 2024):
“In line with previous years, the highest risk for the Netherlands is found in the area of Market Plurality. This holds a medium-high risk, mainly because of a growing market concentration in the hands of fewer players. There are no formal rules against this specifically for the media market, but when mergers are proposed, the independent market regulator ACM looks into the appropriateness of them from a market competition perspective (however not so much from a content pluralism perspective). While a recent merger (Talpa and RTL) was still blocked, it remains to be seen what will be decided about the latest proposed merger, between RTL and DPG Media largest (news)media company in the Netherlands), which could have serious consequences for pluralism, and for the Dutch news agency ANP.” (page 9).
In 2025 ACM gave permission for the acquisition of RTL Netherlands by DPG Media. To safeguard media plurality and editorial independence, the ACM imposed several conditions including independent editorial statutes and guarantees that all titles within DPG Media should retain their own identity, budgets, and editorial teams.
Policies to promote the diversity of cultural expression
The public broadcasting mandate is defined the Dutch Media Act 2008 (Article 2.1) as follows: they “(…) must align with public values and meet the democratic, social, and cultural needs of Dutch society. To this end, they provide media content that:
- is balanced, pluralistic, diverse, and of high quality, and is also characterized by a wide variety in form and content;
- provides a balanced representation of society and reflects the diversity of beliefs, views, and interests that exist among the population in social, cultural, and ideological domains;
- is aimed at and reaches both a broad general audience and population and age groups of various sizes and compositions, with particular attention to smaller target groups.”
Every year, the Dutch Public Broadcaster (NPO) reports on the programming in detail in the NPO Terugblik. Commercial broadcasters do not receive financial contributions from the government, but the Media Act 2008 imposes several requirements on them as well. They are not allowed to broadcast sponsored news, and at least 40 percent of the programmes must be produced in the Dutch or Frisian language. The Performance Agreement between the Ministry and the NPO Dutch Public Broadcasting states that at least 75% of the total airtime of the NPO’s television programming must consist of original Dutch-language productions.
In general, according to the report Het culturele leven (The cultural life, SCP p32), public broadcasting organisations spent more time on culture (7.1%) than commercial broadcasters (3.4%) in 2017.
The reform plans proposed by minister Eppo Bruins (see chapter 2.1) are prepared through decennia long media-political discussions on the rather complex system of external pluralism of the Dutch national media system through member-based broadcaster organisations. The basic idea for renewal is: a less complex (and more efficient) system, while keeping pluralism and content diversity within one broadcasting organisation (the BBC-model). But a lot of details must be elaborated. As the Cabinet Schoof is preparing the reform plans, and new elections will be in October 2025, it is not yet clear what the new Parliament will think of these plans.
Share of domestic vs. imported media programmes
Despite the availability of detailed information about the public broadcasters’ range of programmes, a complete overview of the full audiovisual landscape in the Netherlands is currently lacking. In November 2024, this led Minister Eppo Bruins to announce an independent cross-sector monitor on the audiovisual sector, when he presented his Agenda Audiovisual Supply to the Parliament. The Media Monitor 2024 from the Dutch Media authority also indicates a lack of transparency regarding media consumption and media diversity via social media and streaming services.
This is not to say that there is no relevant information. We know that NPO Dutch Public Broadcaster is still market leader (online and offline) in news consumption: 64% of the news consumers used NPO in 2025, followed by the commercial broadcasters RTL (37%) and SBS (25%). (Dutch Media Authority, Digital News Report 2025, p 23). But the Media Monitor 2024 indicates that linear television use continues to decline in favour of social media and streaming services, especially by the younger generations. The use of these services plays a major role in the decline in the use of traditional media, putting pressure on Dutch media markets. The big and growing role of international platforms is a threat to the visibility of Dutch (news)media.
The market share of Dutch titles in Dutch cinemas is only 14 percent (2024), with a domination of American films. The use of Video on Demand is grown, with – again – a dominant position of international (American) companies.
Within the audiovisual market, all indications point to the growing power of foreign—mostly American—streaming platforms and social media companies, in the areas of news and information, culture, and Dutch audiovisual productions. (See for more information on the Audiovisual Sector: Cultuurmonitor Audiovisueel). For that reason the Act on the Investment Obligation for Audiovisual Content came into effect in 2024 (see chapter 4.2.6).
Press freedom
In two international monitors, the World Press Index and the Media Pluralism Monitor, The Netherlands gets a comparably good judgement on press freedom. This is due, among other things to the a legal framework to protect the work of journalists, including an anti-SLAPP bill intended to implement EU-Directive 2024/1069, the Open Government Act (Woo), effective since 2022 and the Whistleblower Protection Act, 2023), which transposes the EU Directive and extends safeguards to a broad group, including employees and volunteers). The media sector, the police and the Prosecutors Office took steps in 2019 against violence and aggression against journalists. This resulted in the platform PersVeilig. In 2025 the Netherlands was ranked 3rd in the World Press Freedom Index. Despite the relatively positive assessment, the Media Pluralism Monitor Report 2025 highlights several points of concern (see page 9 for a summary).
Last update: March, 2026
There are two official languages in the European part of The Netherlands: Dutch and Frisian. In the Caribbean parts of the Netherlands, Dutch, Papiamentu and English are official languages.
Dutch
The Dutch language is principally spoken in the Netherlands, Flanders and Suriname. The Dutch language policy is managed by the Committee of Ministers (Comité van Ministers), comprising the Dutch and Flemish culture and education ministers and a representative from Suriname. The Interparliamentary Committee (Interparlementaire Commissie) monitors the policy while the Dutch Language and Literature Council (Raad voor de Nederlandse Taal en Letteren) advises policymakers. Dutch language policy is developed and implemented by the Dutch Language Union (Nederlandse Taalunie), founded by the Dutch and Flemish governments. To emphasise their mutual cultural interests, a cultural treaty was signed in 1995. In 2004, the Flemish-Dutch House (Vlaams-Nederlands Huis deBuren) opened in Brussels to promote Flemish-Dutch culture in Europe.
Suriname joined the Dutch Language Union as an associate member in 2004. The union also cooperates with the Caribbean islands that have Dutch as an official language: Aruba, Curaçao, Saint Martin (countries within the Kingdom of the Netherlands), Bonaire, Saint-Eustache and Saba (municipalities within the Kingdom of the Netherlands).
In 1996, the Flemish and a Dutch public broadcasters founded the channel the Best of Flanders and the Netherlands (BVN).
Starting from 1 January 2024 the Act on the Investment Obligation for (Dutch) Audiovisual Content takes effect for big (international) streaming platforms (see chapter 4.2.6).
Frisian
The Frisian language is recognised as the second official language in the province of Fryslân, both in Dutch law and through the European Charter for Regional Minority Languages. The province of Fryslân and the central government made agreements on the development of the Frisian language and culture: Bestjoersôfspraak Fryske Taal en Kultuer 2024–2028, (Administrative Agreement on Frisian Language and Culture- in Dutch and Frisian). The Fryske Akademy, a research institute to the Frisian language, determines the spelling in the Frisian language and preserves the cultural and literary value of the language-related Frisian heritage.
Other languages
The Netherlands has recognised Limburgish (since 1997), Low Saxon (since 1996), Romani/Sinti and Yiddish (since 1996) as regional or non-territorial languages under the European Charter for Regional Minority Languages. This recognition enables provinces and municipalities to create policies for these languages. The Limburgish and Low Saxon languages are recently recognized as official regional languages. The government has made objectives in collaboration with the representatives of the Limburgish and Low Saxon language by means of covenants.
Language Policy in the Caribbean Parts of the Kingdom
Within the Kingdom of the Netherlands, Papiamentu (on Bonaire, Aruba, and Curaçao) and English (on Sint Eustatius and Saba) hold official status alongside Dutch. as languages in administration, education, and the courts. The Dutch government co-finances bilingual education programmes, teacher training and cultural and heritage projects that promote local language use.
Support of the libraries on the islands is included in the Culture Covenant 2022 – 2025, Ministry of Education, Culture and Science – Public Entities of the Caribbean Netherlands.
These measures ensure that local languages are safeguarded, taught, and promoted, while Dutch remains the shared administrative and legal language within the Kingdom.
Last update: March, 2026
Since 2007, the Ministry of Education, Culture and Science has coordinated emancipation policies for women and the LGBTQIA+ community, focusing on employment, combating violence, and equal rights. The 2017-2021 coalition agreement included the Rainbow Agreement, which set measures to combat discrimination, including an amendment to Article 1 of the Constitution prohibiting discrimination based on sexual orientation and disability. It also aimed to reduce gender registration without a specific goal and improve the position of LGBTQIA+ individuals in education. In 2019, the Equal Treatment Act was amended to explicitly protect transgender and intersex people from discrimination.
In the OCW agenda against discrimination and racism (2022), the ministry includes gender within broader emancipation policy. The Emancipation Directorate, under the Minister of Education, Culture and Science, promotes equal rights, opportunities, freedoms, and responsibilities regardless of gender or sexual orientation.
The ambitions regarding emancipation are further elaborated in the Emancipation Memorandum (“Emancipatienota”). The 2022–2025 emancipation policy memorandum, which was drafted under Robbert Dijkgraaf, opens with a vision stating that while all individuals are legally equal, in practice not everyone has the same opportunities or feels safe to be themselves. It sets out the government’s approach to advancing the rights and equality of women and LGBTQIA+ people. Emancipation is presented not as a standalone goal, but as an integral part of broader government policy. The emancipation memorandum addresses a broad range of emancipation-related themes (such as employment, safety, education, healthcare, equal treatment, and the international context) but contains no separate section on the cultural sector in relation to gender equality.
In the same 2025 report mentioned before in chapter 2.5.1, OCW published numbers on the representation of gender in employees, board members and supervisors, and advisors within Dutch cultural institutions:
- In 2023, 63 percent of employees in subsidized cultural institutions were women, compared to 59 percent in 2017.
- In 2023, 51 percent of board members and supervisors of subsidized cultural institutions were women, compared to 40 percent in 2017.
- In 2023, 56 percent of advisory committee members of funding bodies were women, compared to 46 percent in 2017.
Altogether, the study shows an increase in the representation of women in different roles within Dutch subsidized cultural institutions between 2017 and 2023. It is important to mention again that while the figures presented here provide some insight into the representation of gender (albeit in a narrow sense) within cultural organizations, this does not necessarily indicate that these organizations are inclusive. Several studies show that gender inequality, differentiation, and discrimination remain persistent issues in the cultural sector (see chapter 8 on the page Diversity, inclusion and equality on the Culture Monitor).
There are various initiatives in the cultural and media sector aimed at raising awareness of gender inequality. For example, there is the Manifesto on Gender Equality and Intersectionality in the Art World (“Gendergelijkheid en intersectionaliteit in de kunstwereld”), which brings together intentions, recommendations, and concrete objectives regarding gender equality and intersectional representation. An example of recent research on gender in the Dutch media sector is Monitor Representation 2023, the third study on representation in non-fiction television carried out by the Dutch Media Authority (Commissariaat voor de media). Commissioned by the Ministry of Education, Culture and Science and conducted in collaboration with the University of Amsterdam, the study provides data to inform public debate on representation, diversity, and gender in the media.
Last update: March, 2026
In the Netherlands, several foundations focus on the improvement of the position of citizens with disabilities in the cultural sector. Examples of these foundations are Special Arts (which aims to improve the artistic participation of people with disabilities) and 5D (which tries to enhance the position of people with disabilities in the performing arts sector). In addition, initiatives such as Creative Access (focused on sign language or subtitles) and Disabled Led Theatre are used to improve the accessibility of performing arts, particularly for citizens with vision problems.[1]
National legislation includes the Participation Act, which focuses on the improvement of inclusivity in the labour market. One of the goals of the law is to stimulate cultural organisations to hire people with disabilities. The Netherlands ratified the UN-declaration on the Rights of Persons with Disabilities in 2016. The convention ensures people with disabilities to have equal rights in society regarding, for example, housing-, education- and cultural facilities. A plan was constructed in 2017 by the Ministry of Public Health, Well-Being and Sport to implement the guidelines of the convention in the Netherlands.
In the policy letter of 10 November 2022, then-State Secretary Uslu outlined plans to improve accessibility in the cultural and creative sector for people with disabilities should. The government applies the social model of disability, which focuses not on the impairment itself but on the barriers present in the environment. Since the ratification of the UN Convention in 2016, cultural institutions have been legally required to make their offerings accessible. In her policy letter for 2023–2025 (“Meerjarenbrief 2023-2025”), Uslu also highlighted additional investments in accessibility to remove both visible and invisible barriers.
As stated in the policy notes, there are several initiatives within the cultural sector that promote accessibility, such as the Multisensory tour at the Van Abbemuseum and initiatives by Stichting Komt Het Zien. However, in practice, accessibility often still falls short, and institutions do not always know how to take effective action. Therefore, Uslu calls for baseline measurements and the use of existing tools such as the Codes. She also emphasizes the importance of cooperation between cultural institutions, people with lived experience, support organizations, and governments, which ideally leads to concrete policies and course of action.
In 2025, a report was published concerning the Knowledge Hub for Accessible Culture (“Kennispunt Toegankelijke Cultuur”), in which the Minister of Education, Culture and Science (OCW), Eppo Bruins, describes how the ministry has worked on a proposal to improve accessibility in the cultural sector. The knowledge hub is intended to support cultural institutions in becoming more inclusive, especially for people with disabilities. The proposal includes, among other things, a digital toolbox offering practical training, an online platform for connecting stakeholders, and an “accessibility radar” to help people with disabilities identify accessible venues within the cultural and creative sector. A budget of €500,000 has been reserved for the implementation of these plans.
[1] Keulemans, Chris. 2018. “De segregatie die niemand wil en die niet nodig is.” Boekman 115: 44-47.
Last update: March, 2026
The idea that culture can be instrumental in fostering social inclusion or social cohesion is relevant in Dutch cultural policy. As Ingrid van Engelshoven (Minister 2017-2022) wrote in her policy letter Culture in an open society (Cultuur in een open samenleving ): “Heritage is (…) a powerful example of how culture can serve as a unifying force in our society. At a time when social bonds seem increasingly fragile and societal divisions are growing, that is a value not to be underestimated.” Moreover, the letter states: “Culture also has the power to connect. (…) That does not mean every cultural expression is inherently unifying or harmonious. People also have individual cultural preferences that distinguish them from others. These preferences can coexist, contrast with, or even conflict with one another. That tension is a hallmark of a dynamic society.”
Gunay Uslu (State Secretary 2022-2023) connected the effect of social cohesion to active participation in culture. In her policy letter The Power of Creativity (De kracht van creativiteit she wrote: “Creating culture together connects people, strengthens their resilience, and supports their personal development. (…) Collective cultural participation benefits both the individual and society as a whole.”
In The Netherlands there is substantial engagement in culture (arts and heritage): in 2022, 64 percent of Dutch people aged 6 and older have practiced a form of art or culture, or heritage. 7 percent is member of a friends association, 10 percent is volunteer and 17 percent donates to culture (see chapter 6.2 and Culture Monitor – Participation for more details).
Specific policy programmes that are (also) aimed to social cohesion include:
- Programme Culture Participation , executed by Fund for Culture Participation (see chapter 5 for details);
- The Netherlands ratified the Faro Convention on the Value for Cultural Heritage for Society. Dutch Heritage Agency coordinates a program that focus on heritage as a carrier of memories and identities, and as a contributor to social cohesion, well-being, and health.
Last update: March, 2026
Up to now, it has been somewhat of a challenge to conceptualise and demonstrate societal significance in a convincing way. In the cultural policy discourse, the term ‘impact’—which carries a rather broad meaning—has frequently been used in this context in recent years. The Impact Centre (Erasmus University Rotterdam) is one of the research institutions on this subject. Discussions with the sector have resulted in the inclusion of the criterion “social significance” in the BIS subsidy requirements. Institutions are expected to explain in what ways they engage with society (see chapter 1.3.3)
In many domains the social significance of the cultural activities and policy is fairly self-evident. This can be concluded from the enjoyment and significance people experience when visiting performances or exhibitions, or actively engaging in arts or heritage (see chapter 6.2). Cultural heritage, such as museums, archaeological sites, monuments and intangible heritage (see chapter 3.1) and languages (see chapter 2.5.4) are the bearers of the identity of a country or (regional) communities.
An explicit societal ambition is included in the Kennis- en Innovatieconvenant (KIC) 2024–2027 (Knowledge and Innovation Agreement – in Dutch), in which agreements have been made between the national government, businesses, knowledge institutions, and other partners on joint investments in research and innovation. The creative industries policy focuses on the contribution of design disciplines to solving urgent societal challenges (see chapter 3.5.5).
Also relevant is the social mission of the public library in promoting reading and developing digital skills (see chapter 3.2). Independent journalism in general, and public media in particular, have an important role in ensuring the proper functioning of democracy (see chapter 2.5.3), the importance of media-literacy and Viewing Indicator (see chapter 4.2.6). Through the Cultural Participation Program, efforts are made to encourage cooperation between the cultural sector and the social domain (including mental healthcare). As a knowledge institute, LKCA contributes to this program (see chapter 5). Finally, the policy on diversity, equity and inclusion has societal relevance (chapter 2.5).
Last update: March, 2026
Policies regarding sustainability in the cultural and creative sectors focus primarily on ecological sustainability and reducing the carbon footprint of organisations and their broader impact on the environment. Additionally, there is attention for the climate handprint of cultural organisations: the impact of artistic expression on awareness about climate change and harnessing the creative power of the cultural sector to advance the climate transition in general.
Following the Paris Agreement in 2015 the Dutch government reached an agreement on the national level in 2019 aiming for a carbon reduction of -55% in 2030 (compared to 1990) and climate neutrality in 2050. These goals have been formalized in a Climate Act (Klimaatwet).
In June 2023 the Council for Culture presented an advisory report Cultuur Natuurlijk about strategies towards a sustainable cultural sector and a prominent role for culture in the climate transition. The advice provides recommendations for both governmental bodies as well as cultural organisations pertaining to baseline measurements, an open and widely shared knowledge base, collective learning through workshops, a roadmap for municipal cultural real estate, modified regulations and subsidy obligations, additional funding and cooperation between government departments. The response of the government in December 2024 referred to existing sustainability schemes for small and medium enterprises, in addition to support of initiatives from within the sector to create shared knowledge platforms, no additional culture specific regulations or funds were put in place.
Several initiatives in the cultural sector are aimed at making the sector more sustainable. The Dutch association for the performing arts (NAPK) is currently working on a Dutch translation of the Theatre Green Book, a collective initiative by theaters for making the performing arts more sustainable. In 2024, the Museum Association published a roadmap for museums that want to become more sustainable. Moreover, theatre company Silbersee has committed themselves to a climate-positive production house by 2027 and has organized a series of debates on art and climate in collaboration with partners such as Oerol and The Dutch National Opera. The Dutch institute for digital heritage (DEN) deals with sustainability regarding digital information, ensuring the long-term usability of digital files.
In an effort to bind together the plethora of initiatives in the cultural sector Kunsten’92 (the advocacy organisation for the cultural and creative sector) launched the Platform sustainable Cultural Sector (“Platform duurzame cultuursector”), facilitating knowledge exchange with partners across cultural disciplines. Together with the national, regional and local governments, they initiated the development of the Roadmap for Sustainable Culture (“Routekaart Verduurzaming Cultuur”), an initiative that aims to create a structure for monitoring, exchanging knowledge, standardized data collection and a central information base. This should bridge the knowledge gap, especially for smaller organizations with a limited capacity or know-how on the topic.
Simultaneously, the ministry of Culture and Education has asked the organization Green Events to develop the “Duurzaamheidsladder Cultuur”, inspired by the European Green Deal Circular Festivals, to aid cultural organizations in their transition to sustainable practices. Similar to the GDCF Model, the “Duurzaamheidsladder Cultuur” is a hierarchical guide providing organizations with tools and information for different stages and ambition levels in the transition to sustainable operations.
Last update: March, 2026
Cultural governance
Good governance in the cultural sector has been an issue of growing interest since 2000. The first Code Cultural Governance was published in 2006, prepared by a special commission. The latest version of the Code was published in 2019 and offers a normative framework for good management and supervision in cultural organisations. To join the BIS 2025-2028, cultural institutions had to subscribe to the Governance Code Culture. In september 2025 the Council for Culture published an advise on the subject. It recommended, among other things, updating the Code of Cultural Governance.