Executive summary edoc 1186360

The ratification of the Convention did not require any addition or amendment to existing legislation in the Netherlands. The Cultural Policy Act (Special Purpose Funding) has been the basis of the Dutch government’s involvement in culture since 1993. The diversity of cultural expressions is firmly entrenched in the Act, which states that the Minister is responsible for preserving and developing cultural expressions and disseminating them across social and geographical boundaries or otherwise propagating them.

Minister Jet Bussemaker (Minister of Education, Culture and Science 2013-today) described her priorities in national policy for the arts and culture in a policy memorandum to the Lower House of Parliament in June 2013. 1 She emphasises the breadth of meaning of the term “culture” and describes the need to balance between the artistic, societal and economic value of culture. The Minister explicitly mentions the role culture can play in a changing society: “culture unites, entertains and helps us resolve issues facing our society.”

From 2013 to 2016, national culture policies contained the following priorities: - Cultural education and participation in cultural life- Talent development- Creative industry- Digitisation- Connecting the cultural sector to other sectors of society

The policy measures and instruments outlined in this report reflect Dutch policy with regard to the convention. In policymaking, two terms are used regarding diversity in culture: diversity in general is about difference between people, mainly concerning ethnicity, age and gender. Pluriformity concerns the diversity of the cultural offering. Both are considered in governmental policy.

Intangible heritage and immovable heritage are not within the scope of this report, even though they are both included in national policy regarding cultural diversity. The Netherlands national inventory on intangible heritage contains a number of elements from ethnic minorities. National heritage policy in general focuses on accessibility and inclusion.

We have chosen to highlight some policies and measures that reflect both the priorities of Minister Bussemaker’s and those of the 2005 Convention.

1 Ministry of Education, Culture and Science, memorandum: Cultuur beweegt (10 June 2013) http://www.government.nl/documents-and-publications/letters/2013/10/15/culture-moves.html.

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Technical Information

a) Name of the partyThe Netherlands

b) Date of ratification09/10/2009

c) Organisation(s) or entity(es) responsible for the preparation of the reportMinistry of Education, Culture and Science in cooperation with theNetherlands Commission for Unesco.

d) Officially designated point of contact- Title: Ms- First name: Marieke - Family name: Brugman- Organization: Netherlands Commission for Unesco- Mailing address: Kortenaerkade 11

2518 AX Den Haag - Telephone: +31 (0)70 4260264- E-mail: mbrugman@unesco.nl

e) Date report was prepared26th April 2017

f) Name of designated official(s) signing the reportDr. M.J. Bussemaker

g) Name of stakeholders, including civil society organizations, involved in the preparation of the reportAmsterdam MuseumArt of ImpactBinoq AtanaDutchCultureFonds voor CultuurparticipatieImagine ICLandelijk Kennisinstituut Cultuureducatie en AmateurkunstMetropole OrkestMoving Arts ProjectNederlandse Publieke OmroepProf. Yvonne Donders (Professor International Human Rights and Cultural Diversity University of Amsterdam)Prof. Cas Smithuijsen (Professor Literary and Cultural Studies, Radboud University)RIGHTABOUTNOW INC.Vereniging Openbare BibliothekenVoices of Tolerance

h) Description of the multi-stakeholder consultation process established for the preparation of the reportThis report was written by the Netherlands Commission for Unesco in collaboration with the Ministry of Education, Culture and Science.

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Several cultural institutions (see above) have been interviewed in the preparation of this report, as well as policy makers within the Dutch government administration. The interviews addressed the level of awareness of the 2005 convention, the Code Cultural Diversity and served as a general call for advice on policymaking regarding the diversity of cultural expressions. The results of this consultation process will be used to draft the next working programme of the Netherlands Commission for Unesco. Recommendations based upon the research may lead to a policy advice from the Commission to the government.

Overview of cultural policy contextAfter 1945, the Dutch government started to play an active part in encouraging and funding cultural activities. In doing so, it expressly refrained from making any artistic judgement of the arts and culture as a reaction to the mixing of political and artistic judgement during the years 1940-1945 (WWII). The public funding model for the cultural sector was also constructed after this period. The 1980s saw the creation of a funding system by national government and larger municipalities organised in four-year Cultural Policy Document periods, to structure the publicly funded culture sector. Together with the other tiers of government (municipalities, provinces, national culture funds, and the Council for Culture), the national government is responsible for a high-quality cultural offering right across the country.2

Since 1993, the Cultural Policy Act (BIS - Special Purpose Funding) has been the basis of the Dutch government’s involvement in culture. The diversity of cultural expressions is firmly entrenched in the Act, which states that the Minister is responsible for preserving and developing cultural expressions and disseminating them across social and geographical boundaries or otherwise propagating them.The ratification of the Convention in 2009 did not require any addition or amendment to existing legislation in the Netherlands3. National policy does not refer to the convention as an instrument, but its leading principles are promoted within legislation and policies. The Convention is a reference for ongoing policymaking.

In policymaking, two terms are used regarding diversity in culture: diversity in general is about difference between people, mainly concerning ethnicity, age and gender. Pluriformity concerns the diversity of the cultural offering. Both are considered in governmental policy.

Intangible heritage and immovable heritage are not within the scope of this report, even though they are both included in national policy regarding cultural diversity. The Netherlands national inventory on intangible heritage contains a number of elements from ethnic minorities. National heritage policy in general focuses on accessibility and inclusion.

Minister Jet Bussemaker (Minister of Education, Culture and Science 2013-2017) described her priorities in national policy for the arts and culture in a policy memorandum to the Lower House of Parliament in June 2013. 4 She emphasises the breadth of meaning of the term “culture” and describes the need to balance between the artistic, societal and economic value of culture. The Minister explicitly mentions the role culture can play in a changing society: “culture unites, entertains and helps us resolve issues facing our society.” At approximately the same time the minister also described her priorities concerning museums5. In this document, museums were called to reach out to a non-regular public in order to diversify the attendance.

2 Ministry of Education, Culture and Science, Culture at a Glance (2014), pp. 87-88.3 Dutch Quadrennial report 2013 for the Unesco 2005 Convention. 4 Ministry of Education, Culture and Science, memorandum: Cultuur beweegt (10 June 2013) http://www.government.nl/documents-and-publications/letters/2013/10/15/culture-moves.html. 5 https://www.rijksoverheid.nl/documenten/kamerstukken/2013/06/10/museumbrief-samen-werken-samen-sterker

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From 2013 to 2016, national culture policies contained the following priorities: Cultural education and participation in cultural life. The government encourages all children and young people to be introduced to culture in the course of their formal education and to be given the opportunity to develop their talents in this area, as creators or consumers, on a professional or amateur basis.6 To encourage cultural participation (as practitioners or visitors) the government supports innovation through the Cultural Participation Fund and national networks and knowledge-sharing through the National Expertise Institute for Cultural Education and Amateur Arts (LKCA). The formal agreement on “Older People and Culture” promotes cultural participation of the elderly. The coalition agreement 2013-2017 stated that all publicly funded institutions must apply the cultural diversity code (see chapter 1.2.1.). The Code is also strongly supported by the Council for Culture, the Parliament and the Minister.

Talent development. The government considers it important to give talent ample scope to develop. There’s a broad foundation in primary and secondary education and possibilities to pursue a professional career via vocational education. The cultural funds administer a broad range of schemes and measures to encourage novice and established artist and culture-makers.

Creative industry. Creativity and innovation are essential for the development of our knowledge society; the creative industry is excellently placed to link these ingredients to technology and innovation. As part of its economic development policy, the Dutch government has identified the creative industries as one of the Netherlands’ key economic sectors. The government furthermore promotes an entrepreneurial attitude at cultural institutions. Urban regions are developing their own cultural profile. This is apparent for example in the creative industries.

Digitisation. Government policy is focusing on the creation, sustainable management and accessibility of digital collections, and on strengthening digital networks and skills. Thanks to digitisation, more people are exposed to and make use of heritage, art and culture. The development of the digital environment comprises some radical changes in patterns and behaviour from we have known before. This concerns all stages of the cultural value chain: creation, production, distribution, participation and enjoyment.

Connecting the cultural sector to other sectors (sports, education, health care, welfare) of society. She pointed out7 that culture and creativity are of value in addressing issues in sectors which do not generally reach out for them to help solve issues. Serious games can play an important role in health care education. Cultural activities add to a feeling of social cohesion and inclusion. The Art of Impact is an example of a government initiative to strengthen collaboration between the art sector and other sectors and profit from each other’s knowledge and experience (see chapter 1.5.1.).After the elections in March 2017, currently a new government is being formed. A new Minister for Education, Culture and Science may set different priorities for the period 2017-2021.

We have chosen to highlight some policies and measures that reflect both the priorities of Minister Bussemaker’s and those of the 2005 Convention.

6 Dutch Quadrennial report 2013 for the Unesco 2005 Convention, p.87 Ministry of Education, Culture and Science, Cultuur verbindt: een ruime blik op cultuurbeleid (2014).

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1. Cultural policies and Measures This section contains a brief outline of the Dutch cultural policy system, followed by a brief introduction to Dutch cultural policy and policy objectives. These are consistent with the objectives and intentions of the Convention. The way cultural objectives are put into practice is then illustrated by the measures that have been taken by the government.

1.1. Organisation

The roles of various tiers of government in the funding of cultureThe Minister’s responsibility is confined to the main points of cultural policy. The “Thorbecke principle”8 states that governments should refrain from making an artistic judgement on cultural expressions. For this judgement, the Minister relies on the Council for Culture [Raad voor Cultuur], the body that advises government and parliament on all (substantive) matters concerning culture and media policy. In accordance with the Cultural Policy (Special Purpose Funding) Act, the Dutch government makes a financial contribution to a wide-ranging and varied cultural offering for all citizens and in all parts of the country by funding institutions and establishing policy programmes. For this reason, the basis of cultural policy in the Netherlands is in accordance with the principles and objectives of the Convention. National cultural policy is implemented roughly along three lines:

- The basic national infrastructure consisting of 92 (in 2017) institutions which are directly funded by the government based on the criteria that they have a specific function in national arts and culture or play a key role in regional and urban cultural infrastructure.

- Six cultural funds for the performing arts, film, visual arts, literature, the creative industry and cultural participation respectively, which support initiatives in the different sectors on project basis or in two-year cycles. The Minister is responsible for the policy and the working methods of the funds, while the responsibility for the funding decisions rests with the cultural funds themselves. These are the Creative Industries Fund, Performing Arts Fund, Dutch Literary Fund, Mondriaan Fund, Netherlands Film Fund and Cultural Participation Fund.

- Policy programmes: a number of programmes are based on cooperation with other ministries including the Ministry of the Interior, the Ministry of Foreign Affairs and the Ministry of Economic Affairs, with other tiers of government (provinces and municipalities) and/or with other parties in the public and private sectors.

Cooperation between national government and other tiers of government, the provinces and municipalities, deserves special attention as each tier is autonomous in pursuing its own cultural policy. Together, the three tiers of government are able to provide a robust and wide-ranging level of cultural facilities.

1.2. Policy to promote diversity in the culture sector1.2.1. Code For Cultural Diversity

Key Objectives of the Measure: The Code Cultural Diversity was an initiative from organisations in the cultural sector. Created in 2009, the Code Cultural Diversity is a practical instrument for board members, supervisory board members, managing board members and employees. It is a behavioural code which cultural organisations are expected to implement. The Code offers practical assistance to embed cultural diversity in institutions. 8 As chairman of the Constitutional Committee, the statesman Johan Rudolph Thorbecke (1798 – 1872) laid the foundations of the Dutch state in 1848. He led three governments as prime minister. Best known from this period is Thorbecke’s statement about the government’s position with regard to art: “Art is not the business of government as the government cannot judge art, nor yet control it”. What Thorbecke meant by this was that he, as a person, was indeed interested in art but that the government was no judge of science or art.

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Dutch society is has become increasingly diverse during the past decades . At the end of 2015, one in eight people in the Netherlands was of non-western origin.9 However, audience, producers and buyers of the Dutch cultural offering do not fully reflect this diversity. This includes staff in the cultural sector. The six governmental funding agencies receive a lower number of funding requests by culturally diverse organisations. The Code Cultural Diversity is established in order to ensure that institutions, programmes and audience reflect the diversity of the population in a more visible way. It was initiated by the organisations themselves, through the branch organisations for the performing arts and museums. For the period 2012-2015, institutions were not obliged to report on results achieved relating to the Code. Since 2016 cultural institutions are expected to increase their efforts to implement the Code and to reflect on the implementation of the Code within their organisations. For the period 2017-2020 every institution in the BIS (Special Purpose Funding- see p.3) is obliged to reflect on the code in their annual reporting. Scope of the measure: NationalNature of the measure: InstitutionalMain feature of the measure: The Code focusses on four elements: programme, public, personnel and partners. By using the Code, institutions are encouraged to develop an integrated diversity policy. The Federation of Culture is the overarching organisation of the performing arts, museums, libraries, visual arts and theatre. It promotes the common interest of these branches and brings the Code to the attention of the cultural institutions. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention? Yes. Article 7 states, ‘Parties shall also endeavour to recognize the important contribution of artists, others involved in the creative process, cultural communities, and organizations that support their work, and their central role in nurturing the diversity of cultural expressions’. The Code is especially aimed at making Dutch cultural organisations more diversified.What are the results expected through the implementation of the measure? It is expected that the Code will yield better results in the near future because it was given priority by the minister, the Federation of Culture and the Council for Culture. The six governmental funding agencies already endorsed the Code.Name of the agency responsible for the implementation of the measure: Federation of CultureFinancial resources allocated to implement the measure: In the period 2015-2016, the Ministry of Education, Culture and Science allocated 65,000 euro for the promotion of the Code Cultural Diversity. In 2014 this amount was 45,000 Euro.Was this measure introduced or revised in order to:

- Implement the provision of the Convention? No- Support/nurture policy discussion inspired by the Convention? No- Other reasons unrelated to the Convention? Yes

Has the implementation of the measure been evaluated? The government does keep track of diversity within the cultural sector in general, via ‘Culture at a first glance’10 and other monitoring activities11. However the Code Cultural Diversity has not yet been evaluated as a specific measure. The Council for Culture advises a stronger promotion of the Code12, something which is fully endorsed by the government.

1.2.2. Activities concerning the History of Slavery

9 Ministry of Education, Culture and Science, Culture at a first Glance 2016 (2016), p. 10.10 https://www.rijksoverheid.nl/documenten/rapporten/2016/11/14/cultuur-in-beeld, p. 89/90 and https://www.cbf.nl/Uploaded_files/Zelf/Rijksoverheid%20(2011)%20-%20Cultuur%20in%20Beeld.pdf, p.3711 https://www.rijksoverheid.nl/documenten/rapporten/2016/11/14/cultuur-in-beeld, pp 67-95 12 https://www.cultuur.nl/actueel/nieuws/raad-voor-cultuur-beoordeelt-subsidieaanvragen-culturele-basisinfrastructuur/item3596

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Key Objectives of the Measure: Minister Bussemaker strives for more visible and sustainable attention for the history of slavery. She organized a round table on this topic with institutions and experts from the cultural and scientific sectors. While many activities take place relating to this subject, more collaboration and coordination could be established to enhance impact.

Scope of the measure: NationalThe nature of the measure: FinancialThe main feature of the measure:

The National Museum of World Cultures organised an international symposium on slavery as a shared past (2017).

Rijksmuseum, Tropenmuseum and Amsterdam Museum have been reviewing the descriptions of objects in their collections since 2015, and are replacing possible offensive texts and proposing alterations in the display of subjects. Starting in 2017, the Cultural Heritage Agency of the Ministry of Culture is offering support for this project.

Well known are the national commemoration of the abolition of slavery at the monument in Amsterdam (Oosterpark) and Keti Koti Festival in Rotterdam, both on July 1st. The commemoration in Amsterdam, organised by NiNsee (National Institute Dutch Slavery Past and heritage), is funded by the Ministry of Culture (via Mondriaan Fund) and the city of Amsterdam. NiNsee is an institution funded by the city of Amsterdam. Part of its activities is funded by the Ministry of Social Affairs.

The Ministry of Social Affairs is coordinating activities within the UN Decade for people of African descent.

The Network for the History of Slavery (Netwerk Slavernijverleden) started in 2014. It consists of a diverse range of cultural and scientific organisations and experts. The network has three subdivisions: Education, Research & Heritage, and Art & Culture. Its mission is to disseminate knowledge on the history of slavery to the wider public, and to involve different stakeholders. The Municipality of Amsterdam provides some funding for the Network.

Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention? NoWhat are the results expected through the implementation of the measure? An increase of the impact of activities regarding the history of slavery by more collaboration and coordination. Name of the agency responsible for the implementation of the measure: NiNsee, Vrije Universiteit, Amsterdam Museum, Bijlmerparktheater, Mondriaan Fund.Financial resources allocated to implement the measure: the commemoration is funded via Mondriaan Fund Was this measure introduced or revised in order to:

- Implement the provision of the Convention? No- Support/nurture policy discussion inspired by the Convention? No- Other reasons unrelated to the Convention? Yes

Has the implementation of the measure been evaluated? No

1.3. Cultural EducationThe government encourages all children and young people to be introduced to culture in the course of their formal education. Culture education provides children with the opportunity to get to know art forms such as literature, music, theatre, dance, visual arts and cultural heritage. It teaches them to reflect upon culture and to add to it from their own imagination.

1.3.1. Cultural education with quality (Cultuureducatie met Kwaliteit ‘CmK’)

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Key Objectives of the Measure: The aim of the measure is: ‘to let children profit from quality cultural education in which they enjoy their education while learning important 21st century skills’.13 In other words: to help develop children into creative and critical adults. Students should be in contact with music, dance, drawing, theatre and cultural heritage during their entire primary school career. 14 This measure is targeted at primary schools. An important aim of this measure is to give cultural education a stronger basis in the primary school’s curriculum. Other measures aim at boosting musical education in primary schools, coordinated by the Fund for Cultural Participation, and the training of music teachers in teacher training institutes. Another noteworthy arrangement executed by The Fund for Cultural Participation is specifically targeted at younger students in vocational education. This intends to stimulate the collaboration of TVET-schools and cultural institutions. Minister Bussemaker allocated extra funding until 2020 to increase dispersion and to secure the position of culture education in TVET in collaboration with municipalities. Scope of the measure: NationalThe nature of the measure: FinancialThe main feature of the measure: CmK improves cooperation between schools and cultural institution and the knowledge and skills of teachers. Stimulating cultural education is not only the responsibility of the government; the effort of different parties from the cultural field and education such as local municipalities and provinces, is equally important,.15 Projects are funded in a matching structure, where national and local government jointly provide funding. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention? Yes, children in primary school/teachers/education officers.What are the results expected through the implementation of the measure? The focus in 2017-2020 will be on four different areas.

- Improving the quality of cultural education. - Schools will have ownership of cultural education. - Cultural education needs to become an integral part of the school’s curriculum.- Closer cooperation between schools and the direct cultural environment.16

Name of the agency responsible for the implementation of the measure: Ministry of Education, Culture and Science, Fund for Cultural participationFinancial resources allocated to implement the measure: 39 million euro from the Dutch government for the period 2013-2016, in which 54 different projects were financed. Was this measure introduced or revised in order to:

- Implement the provision of the Convention? No- Support/nurture policy discussion inspired by the Convention? No- Other reasons unrelated to the Convention? Yes

Has the implementation of the measure been evaluated? YesIn the period 2015-2016, roughly 60% of all primary schools joined CmK, 36% of all primary school students took part in at least one of the cultural activities organised by CmK.17 The measure will be continued for 2017-2020.

1.3.2. Culture Card (Cultuurkaart) and MBO Card

13 http://www.cultuureducatiemetkwaliteit.nl/over-cmk/#het-doel. 14 http://www.cultuureducatiemetkwaliteit.nl/. 15 Ibid. 16 Ibid. 17http://www.lkca.nl/~/media/kennisbank/publicaties/2016/ce_review_culltuureducatie_met_kwaliteit_def %20(2).pdf, p. 7.

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Key Objectives of the Measure: The key objective is to lower the bar for students in secondary schools and in vocational education in the Netherlands to visit cultural institutions or get involved in their activities. The Culture Card is handed out to students in secondary schools, and provides them with a budget (funded by the ministry of Education, culture and science and by individual schools) to spend on cultural education. On 1 January 2016, the Minister of Education, Culture and Science introduced the MBO-card. This card is handed out to MBO (TVET) students offering discounts in cultural participation. The aim of the MBO-card is to better embed cultural activities within the school curriculum18.Scope of the measure: NationalThe nature of the measure: financialThe main feature of the measure: CJP (Cultural Youth Passport) has introduced the Culture Card which every secondary school student can use to visit cultural institutions or activities. It offers them a reduction on the entrance fees. Most secondary schools (65%) give this card to their students (age 12-18). More than 700.000 students take part in the Culture Card (73% of the total secondary school students).19 Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention? Yes, secondary school students and MBO studentsWhat are the results expected through the implementation of the measure? This measure has been very efficient to get young students involved in culture. Over 70% of the student population aged 12-18 received the card. Almost 90% of the MBO students received the MBO Card.Name of the agency responsible for the implementation of the measure: Ministry of Education, Culture and Science, CJP.Financial resources allocated to implement the measure: The Ministry of Education, Culture and Science donates 5 euro for each card that is handed out in secondary school (roughly 3,5 million euro). The Dutch government sponsors 5 euro on each card handed out to a student, 89% of secondary schools add 10 euro to this amount. 88% of MBO students received the MBO Card.20

Was this measure introduced or revised in order to:- Implement the provision of the Convention? No- Support/nurture policy discussion inspired by the Convention? No- Other reasons unrelated to the Convention? Yes

Has the implementation of the measure been evaluated? Yes, see the statistics above.

1.4. Cultural ParticipationCulture shapes our world and our personal development.21 Our language and our culture reveal where we come from and who we are. Culture represents not only ties, identity and tradition but also dynamism, creativity and innovation. That is why the Dutch government believes it is important that as many people as possible should have access to culture as creators or consumers. This involves all cultural expressions, not only traditional forms but also modern forms such as pop music , gaming and design.

1.4.1. Fund for Cultural Participation

Key Objectives of the Measure: The Fund for Cultural Participation stimulates active cultural involvement of all people in the Netherlands. The Fund aims to contribute to an open society in which people of all ages and backgrounds can develop their creativity. The Fund connects and

18 Ministry of Education, Culture and Science, Culture at a first Glance 2016 (2016), p.9519 https://www.rijksoverheid.nl/binaries/rijksoverheid/documenten/kamerstukken/2016/11/23/kamerbrief-cultuuronderwijs-najaar-2016/kamerbrief-cultuuronderwijs-najaar-2016.pdf . 20 Ibid.21 Dutch Quadrennial report 2013 for the Unesco 2005 Convention, p.8.

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supports people, organizations and the government who are involved in cultural participation.22 The Fund is established and subsidized by the Ministry of Education, Culture and Science. Scope of the measure: NationalThe nature of the measure: FinancialThe main feature of the measure: The Fund subsidises cultural initiatives and schools throughout the Netherlands which stimulate culture participation. The Fund cooperates with cultural institutions, clubs, cultural heritage organizations, schools, other funds, the government and social institutions. With personal stories on its website (http://www.cultuurparticipatie.nl) the fund raises awareness of the social value of culture.23 An example of this is the project Let’s Dance, where young and experienced dancers danced together with elderly amateur dancers in a performance on migration and refugees. The project was funded by the FCP.Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention? NoWhat are the results expected through the implementation of the measure? The Fund funds several projects to stimulate cultural participation. In 2015, around 6 million people were involved in cultural activities24. Name of the agency responsible for the implementation of the measure: Ministry of Education, Science and Culture.Financial resources allocated to implement the measure: In 2015, the Fund received almost 8 million euro from the Ministry of Education, Culture and Science.25

Was this measure introduced or revised in order to:- Implement the provision of the Convention? No- Support/nurture policy discussion inspired by the Convention? No- Other reasons unrelated to the Convention? Yes

Has the implementation of the measure been evaluated? All six national funds are evaluated every four years by an independent committee.

1.5. Connecting culture and societyMinister Bussemaker selected the social value of culture as one of the priorities in cultural policy. Questions relating to, for example, health care, corporate social responsibility, energy supply and aging become more and more complex and interrelated. Creativity and innovation are important when addressing these issues. The cultural sector and culture education are important starters for creativity and innovation26. These sectors may well profit from one another.

1.5.1. Art of Impact

Key Objectives of the Measure: The Art of Impact was a programme that stimulated the collaboration between artists and social organisations. It tried to use creativity to solve social issues. The programme, that ran in 2015 and 2016, involved research on social issues and stimulated existing and new art projects with a clear social impact. In the period 2015-2016, 122 programmes were supported. 27 Scope of the measure: National

22 http://www.cultuurparticipatie.nl/over-het-fonds/missie-en-doelstellingen/.23 Ibid.24 http://www.cultuurparticipatie.nl/over-het-fonds/missie-en-doelstellingen/ 25 http://www.cultuurparticipatie.nl/file/1461226219.0817foSTYC/jaarverslag-2015-fonds-voor-cultuurparticipatie.pdf 26 https://www.rijksoverheid.nl/ministeries/ministerie-van-onderwijs-cultuur-en-wetenschap/inhoud/cultuur-verbindt 27 https://www.mondriaanfonds.nl/activiteit/art-impact/.

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The nature of the measure: FinancialThe main feature of the measure: The aim of The Art of Impact was to have artists, designers, mediators, cultural institutions and clients from inside and outside the cultural sector create plans that explore and strengthen the relationship between the arts and other social fields, and make this relationship more visible.Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention? NoWhat are the results expected through the implementation of the measure? The Art of Impact was a programme which ended in 2016. The results are difficult to describe as the arts do not always conform to cognitive results. The majority of the projects are still in development, therefore it is not possible to describe the achieved impact.28 The programme achieved a better establishment of social design in domains outside the cultural sector. Artists are increasingly asked to engage in social issues.Name of the agency responsible for the implementation of the measure: The Art of Impact was an initiative from the Ministry of Education, Culture and Science. It is funded by the Fund for the Performing Arts, Fund for Cultural Participation, Fund for Dutch movies, Dutch Literature Fund, Fund for the Stimulation of the Creative Industry, and the Mondrian Fund.Financial resources allocated to implement the measure: The Ministry of Education, Culture and Science allocated seven million euro to the Art of Impact for the period 2015-2016.Was this measure introduced or revised in order to:

- Implement the provision of the Convention? No- Support/nurture policy discussion inspired by the Convention? No- Other reasons unrelated to the Convention? Yes

Has the implementation of the measure been evaluated? YesArt of Impact and the projects within the Art of Impact were reviewed.29 Based upon the evaluation recommendations have been formulated for future projects.

2. International Cultural Cooperation

2.1. International Cultural Policy (Internationaal Cultuur Beleid ‘ICB’)

Foreign cultural expressions and the history of the ‘other’ are of great importance to obtain new perspectives, images and knowledge. Artists and cultural institutions from the Netherlands offer new inspiration and knowledge abroad and vice versa. The International Cultural Policy is aimed at facilitating international cooperation with the relevant parties: the cultural sector, civil-society organizations, governments, cities and private parties.30

The Common Cultural Heritage Policy (described in the next measure) falls under the International Cultural Policy.

Key Objectives of the Measure: Government primarily has a facilitating role. On an international level, government focuses on 4 different aspects.

1. Cultural institutions, artists or heritage professionals often have limited knowledge about international exchanges. The government helps them to get in contact with the relevant institutions which stimulate and facilitate exchanges, presentations and international cooperation, such as embassies, funds and supporting institutions.

28 http://theartofimpact.nl/wp-content/uploads/2016/04/Onderzoeksrapport-The-Art-of-Impact-door-KWINK-groep.pdf, 29 http://theartofimpact.nl/wp-content/uploads/2016/04/Onderzoeksrapport-The-Art-of-Impact-door-KWINK-groep.pdf, p. 41. 30 https://www.rijksoverheid.nl/documenten/beleidsnota-s/2016/05/04/beleidskader-internationaal-cultuurbeleid-2017-2020.

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2. Government involvement may be desirable or necessary to engage in international cultural cooperation and exchange. This applies to countries where the government has a decisive role in cultural policy or where it has a strong influence on cultural life.

3. The cultural sector’s visibility and appreciation may be enhanced by working together. Collective international promotion is by definition not a matter for an individual institution or artist.

4. Culture can be used as part of diplomacy.31

Scope of the measure: InternationalThe nature of the measure: FinancialThe main feature of the measure: The International Cultural Policy aims at facilitating international cooperation of the parties concerned: the cultural sector, civil-society organizations, governments, cities and private parties.32

Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention? NoWhat are the results expected through the implementation of the measure? Improvement in mutual understanding, interest in cultural expressions, cultural identity and history. Name of the agency responsible for the implementation of the measure: Financial resources allocated to implement the measure: The Ministry of Foreign Affairs and the Ministry of Education, Culture and Science yearly spend 21.2 million euro together.33 Was this measure introduced or revised in order to:

- Implement the provision of the Convention? No- Support/nurture policy discussion inspired by the Convention? No- Other reasons unrelated to the Convention? Yes

Has the implementation of the measure been evaluated? YesAfter the evaluation of the policy over the period 2013-2016, the priorities for the International Cultural Policy 2017-2020 are:

- Attention to both the intrinsic and social value of culture, as well as its economic value;- Emphasis on the importance of exchanges, networks and reciprocity;- Development of a coherent and integral international approach, with more room for

initiatives from the field;- More attention for the unifying role culture can play internationally, with a focus on the

countries around Europe;- More support for cultural diplomacy worldwide.

2.2. Common Cultural Heritage policy (Gedeeld Cultureel Erfgoed (GCE))

Key Objectives of the Measure: The Netherlands have maintained intensive relationships with a number of countries all over the world. These relations have left us with tangible and intangible heritage, generally called Common Cultural Heritage. Examples include u the heritage in other countries from the times of the East India Company and West India Company, from our colonial past, or from a time of intensive cultural or other relations. Objectives of the GCE-policy are fostering international relations, sustainable conservation of heritage and promoting the visibility of and positive impression of The Netherlands.34 Scope of the measure: InternationalThe nature of the measure: Financial

31 Ibid.32 https://www.rijksoverheid.nl/documenten/beleidsnota-s/2016/05/04/beleidskader-internationaal-cultuurbeleid-2017-2020. 33 Ibid.34 http://www.nationaalarchief.nl/sites/default/files/docs/gce_beleidskader_2013-2016_definitief__2_a.pdf

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The main feature of the measure: The Netherlands worked with the following GCE countries: Australia, Brazil, India, Indonesia, Japan, Russia, Suriname, Sri Lanka, the United States of America, and South-Africa. Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention? NoWhat are the results expected through the implementation of the measure? GCE offers points of departure for international collaboration. International collaboration fosters intercultural dialogue and deepens insights in the cultural identity and solidarity between peoples. In this way it promotes peace and security and helps solve problems of economic, social, cultural or humanitarian nature.

Collaboration on shared cultural heritage may also add to critical reflections on our history and enlarge the mutual understanding of past and present. Furthermore it could play a role in diplomacy, from a public or economic perspective: when incorporating cultural heritage within international relations the visibility of the Netherlands may be improved and it may raise goodwill abroad.35

This may take place in the form of training, knowledge exchange, ameliorating access to archives, discussing intangible heritage or repurposing of immovable cultural heritage. Name of the agency responsible for the implementation of the measure: National Archive, DutchCulture, Cultural Heritage Agency, Mondriaan Fund. Financial resources allocated to implement the measure: one million euro annually from the Ministry of Foreign Affairs and one million euro annually from the Ministry of Education, Culture and Science, for the years 2013-2016. The Ministry of Foreign Affairs primarily funds embassies within the GCE structure. The Ministry of Education, Culture and Science primarily funds the National Archive and the Cultural Heritage Agency.36

Was this measure introduced or revised in order to:- Implement the provision of the Convention? No- Support/nurture policy discussion inspired by the Convention? No- Other reasons unrelated to the Convention? Yes

Has the implementation of the measure been evaluated? YesIn general, the policy has been considered to be successful37. In the 2012 Mid-term review , the audit services of the Ministry of Education, Culture and Science and the Ministry of Foreign Affairs advised to continue the policy. They also suggested to improve the efficiency, this could be done by revaluating the GCE priority countries and increasing transparency in policymaking. Furthermore, the policy should work more with a demand based attitude and less with a supply based attitude.38

3. Preferential treatmentA safe, just, future-proof world is in the interest of the Netherlands, and is therefore one of the key objectives of the country’s foreign policy. In such a world, every citizen and artist has the right to freely participate in cultural community life of society. Following its development cooperation policy, the Netherlands selected a small number of countries. These were chosen because of their relevance to the main objectives in developmental policy (see chapter 2), and existing cultural networks and experience to build upon. More specifically, we will support activities that lead to:

- a more vibrant local cultural sector which may contribute to social innovation- more participation in cultural events by a diverse public, especially a young public- a safer, more sustainable urban environment

35 Ibid.36 http://www.nationaalarchief.nl/sites/default/files/docs/gce_beleidskader_2013-2016_definitief__2_a.pdf .37 https://www.rijksoverheid.nl/documenten/rapporten/2016/06/14/iob-cultuur-als-kans-beleidsdoorlichting-van-het-internationaal-cultuurbeleid-2009-2014, p. 85. 38 Ibid.

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- sustainable preservation of local cultural heritage.

3.1. Prince Claus Fund

Key Objectives of the Measure: The Prince Claus Fund was founded on 6 September 1996 as a tribute to Prince Claus's dedication to culture and development. It was founded by the Ministers of Foreign Affairs, Development and the Prime Minister on the occasion of HRH Prince Claus’ 70 th birthday39. The Fund states that culture is a basic need and the motor of development. Based on the principle that culture is a basic need, the Prince Claus Fund’s mission is to actively seek cultural cooperation founded on equality and trust, with partners of excellence, in spaces where resources and opportunities for cultural expression, creative production and research are limited and cultural heritage is threatened.40 Scope of the measure: InternationalThe nature of the measure: Financial and non-financialThe main feature of the measure: The Prince Claus Fund supports artists, critical thinkers and cultural organisations in spaces where freedom of cultural expression is restricted by conflict, poverty, repression, marginalisation or taboos. Annually, the Fund grants eleven Prince Claus Awards to individuals and organisations for their outstanding achievements in the field of culture and development. The Fund also provides first aid to cultural heritage damaged by man-made or natural disaster.

The Fund has built a diverse global network of people, many of them role models in their own societies. This network of trust and mutual respect is the backbone of the Fund. Local partners and initiatives guide all the Fund’s work, following the conviction of Prince Claus that people are not being developed, but develop themselves.41 Individuals and organizations cannot request funding themselves, the Prince Claus Fund selects artists and organisations who receive funding.Does it specifically target individuals and/or social groups as defined in Article 7 of the Convention? Yes. Each year, eleven Prince Claus Awards are awarded to individuals and organisations in Africa, Asia, Latin America and the Caribbean for their outstanding achievements in the field of culture and development and for the positive societal impact of their work.What are the results expected through the implementation of the measure? Over 2013-2015 42 (results over 2016 have not yet been published) the fund supported 151 projects (total amount of funding 2.7 million Euro), and 108 Cultural Emergency Responses. Name of the agency responsible for the implementation of the measure: Prince Claus Fund.Financial resources allocated to implement the measure: The Fund is financially supported by the Ministry of Foreign Affairs, the Dutch Postcode Lottery and individual donations. In 2015 the budget totalled 5,446,960 euro.43 Was this measure introduced or revised in order to:

- Implement the provision of the Convention? No- Support/nurture policy discussion inspired by the Convention? No- Other reasons unrelated to the Convention? Yes

Has the implementation of the measure been evaluated? YesThe Prince Claus Fund’s total budget in 2015 was €5,446,960, of which €3,805,555 went toward the direct support of cultural initiatives and dedicated partners, primarily in Africa, Asia, Latin America

39 https://zoek.officielebekendmakingen.nl/kst-24886-1.html 40 http://www.princeclausfund.org/en/the-fund 41 http://www.princeclausfund.org/en/programmes/about 42 http://www.princeclausfund.org/nl/the-fund/facts-and-figures 43http://www.princeclausfund.org/files/docs/2015%20Prince%20Claus%20Fund%20Annual%20Report %20online.pdf.

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and the Caribbean. In addition to the steadfast support of the Ministry of Foreign Affairs and the Dutch Postcode Lottery, €1,133,862 was raised through contributions from private donors.

4. Integration of culture in sustainable development policiesCulture bears an artistic and social value (identity, development, dialogue, connection, history), but also an economic value (creative industry, innovation, planning). The Sustainable Development Goals support the importance of culture as driver of sustainable development, for example the importance of non-violence and cultural diversity (SDG 4.7), safeguarding of natural and cultural heritage (SDG 11.4) and creative industry (SDG 8.3).

As shown before, the Netherlands have legislation on these subjects, and has drafted national and international cultural policies, specifically targeting the diversity of cultural expressions and the safeguarding, management and accessibility of cultural heritage. The Unesco conventions of 1954, 1970, 1972, 2003 and 2005 are ratified and implemented. The ratification of the 2001 convention on the protection of underwater cultural heritage is in preparation.Regarding the management of monuments, policies have been developed to support the transition towards sustainable use of natural resources.

The Dutch Heritage Act (Erfgoedwet)44, which came into force in 2016, stipulates how our heritage is managed, designates the responsible parties, and specifies how supervision is to be exercised. For the first time, there is now a single comprehensive piece of legislation covering Dutch museums and their holdings, historical sites and archaeology both on land and under water. Together with the new Environment and Planning Act (expected to come into force in 2018) the Heritage Act allows for comprehensive protection of the country’s cultural heritage. It combines existing laws and hundreds of sets of regulations in the areas of e.g. construction, environment, water, spatial planning and nature.

The Netherlands also play an active role internationally: via its membership of the World Heritage Convention, in donating to funds related to conventions, and through the Shared Cultural Heritage programme (chapter 2.2).

5. Awareness-raising and participation of civil society

PartiesAll policy memoranda submitted to parliament are aligned with the institutions, experts and civil society. Initiatives from the field, like the Code for Cultural Diversity are supported by the government.

Governmental Research uses information and statistics from civil society. The Ministry of Education, Culture and Science runs a research programme and uses publications from home and abroad. The Netherlands aspires to pursue evidence-based policymaking. Policy is evaluated and if necessary adjusted. Important partners are The Netherlands Institute for Social Research (SCP- a government agency which conducts research into the social aspects of all areas of government policy), Statistics Netherlands (CBS- the responsibility of CBS is twofold: firstly, to compile (official) national statistics and secondly to compile European (community) statistics.), universities and knowledge institutions. Trends and developments in the cultural sector from 2013 until today have been published by the government in the report Culture at a first glance. In 2016 cultural diversity was a major theme in this report. Every four years the government publishes The State of Heritage (de Erfgoedbalans), a report discussing developments in the heritage sector and whether policy objectives have been met, and to which extent.44 Ministry of Education, Culture and Science, Culture at a first Glance 2016 (2016), p. 35.

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Civil SocietyAs cultural diversity and accessibility are priorities in national culture policy, civil society is actively involved in protecting and promoting the diversity of cultural expressions. Below some examples of civil society initiatives are presented.

Voices of Tolerance is an educational project from Museum Ons Lieve Heer op Solder (Our Lord in the Attic Museum). The project consists of lessons and workshops in which secondary school students, in collaboration with teachers and well-known artists, reflect on themes such as freedom and tolerance. The students (from diverse culturally and socio-economic backgrounds) compose raps, songs, fashion statements or poems to share their thoughts. The initiative specifically focuses on students from vocational schools, and combines the history of the museum with current discussions on tolerance and respect. Guidelines for the programme are being written so other museums can use the method too.

Imagine IC archives stories from the Bijlmermeer neighbourhood in Amsterdam. The Bijlmermeer is an area where many Surinamese people lived after the independence of Suriname in 1975, and it has had a very diverse population from the time when it was built.

Imagine IC offers new narratives to the mainstream historical discourse. It is an open organisation that collaborates with Bijlmer-locals to create exhibitions. As such, the museum has become a space where locals can tell their own story. For example, Imagine IC documented and archived information on the Zwart Beraad (black deliberation) movement.45 It was one of the groups in a larger emancipatory and culturally diverse political movement in the 1990’s. Zwart Beraad wanted to play a role in the decision making process on the spending of EU funding for urban renewal. This lead to the first black district representative in Amsterdam’s city council. Imagine IC organised a debate and an exhibition about the movement.

Netherlands Commission for UnescoNational policy does not refer to the convention as an instrument, but its leading principles are certainly promoted. In preparation of this report, the Netherlands Commission for Unesco spoke to several civil society organisations. These interviews provided the Commission with more indepth knowledge on current trends and challenges in the diversity of cultural expressions. These results will be taken into consideration for the Commission’s working plans for the coming years. The Commission itself promotes the convention via its website and in activities related to the convention. It provides patronage to activities that are within the scope of the convention and add to its visibility. An example of this is an event organised by Moving Arts Festival on May 21st 2017, World Day for Cultural Diversity for Dialogue and Development. The Commission also provides information on the International Fund for Cultural Diversity (IFCD), and may guide applications towards Unesco’s headquarters.

6. Transversal issues and Unesco priorities

6.1 Frisian language and cultureIn line with the Framework Convention for the Protection of National Minorities (Framework Convention)46 and the European Charter for Regional or Minority Languages (European Charter)47 of the Council of Europe - the Province of Friesland has the necessary powers to protect its own (Frisian) language and culture. The Frisians are the only recognised minority covered by the

45 http://www.imagineic.nl/pagina/zwart-beraad 46 http://wetten.overheid.nl/BWBV0001714/geldigheidsdatum_16-02-2011 47 http://wetten.overheid.nl/BWBV0001223/geldigheidsdatum_22-02-2012

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Framework Convention and Frisian is the only official language in the Netherlands recognised under Part III of the European Charter.

6.2 Gender equality

6.2.1 Charter DiversityThe Charter focuses on employers in the private and cultural sector. By signing the Charter, the employer is required to actively make an effort to stimulate diversity and inclusion on the workfloor. The commitment is an inclusive corporate culture with a balanced workforce and equal opportunities for all.48 The ministry of Education, Culture and Science and the Federation of Culture signed the charter.

6.2.2 Research on stereotyping in the mediaIn 2016, WOMEN Inc. (a gender equality organization)took the initiative to conduct a research regarding gender stereotyping in the media. The way media policy advisors see their role and responsibility in stereotyping, and how they can contribute to an inclusive society, were central themes in the research project.49 One of the conclusions was that diversity should be a key factor to determine quality – quality of what?.50

6.2.3 Governance Code CultureThe Culture Governance Code is a tool for good governance in the culture sector.51 Organisations in the cultural sector strive to create cultural, economic and social benefits. Publicly funded institutions have a moral responsibility to maintain an inclusive and accessible policy.The Code provides supervisory boards and boards of directors with recommendations on standards and procedures.52 It pays attention to diversity in terms of gender, ethnicity, knowledge and socio-economic dimensions.

6.3 Unesco operational strategy for youth The National Youth Council (Nationale Jeugd Raad, NJR) has two youth representatives to Unesco. They give guest lectures in schools (secondary and tertiary education), one of them on cultural diversity. The youth representatives also actively collect the thoughts and opinions of the groups they represent and share them with the Ministry of Education, Culture and Science, the Netherlands Commission for Unesco and the Netherlands Permanent Delegation to Unesco in Paris. 6.2.4 Youth Culture fund (jeugdcultuurfonds) 53

Every child in the Netherlands should be able to follow lessons in art and culture, regardless of its socio-economic background54. The fund provides children aged between 4 and 18 with the possibility to participate in cultural life. The exploration of the child’s own passions is a priority. An independent intermediary or professional, involved with the family, may request a maximum of 450 euro per child, per year, for cultural lessons. The number of children receiving support from the fund has grown from 147 in 2009 to 7620 in 2016.

7. Achievements, challenges, solutions and next steps

48 http://diversiteitinbedrijf.nl/charter-diversiteit-wat-is-het/wat-is-het-charter-diversiteit/ 49 https://www.womeninc.nl/Uploaded_files/DownloadLinks/beperkt-zicht-de-rol-van-mediamakers-in-beeldvorming.799def.pdf, p. 6. 50 Ibid, p. 41.51 http://www.governancecodecultuur.nl/ 52 http://www.governancecodecultuur.nl/over-de-code 53 https://www.jeugdcultuurfonds.nl/over/ 54 https://www.jeugdcultuurfonds.nl/over/.

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At the end of 2015 the Netherlands had a population of almost 17 million55. The population is ageing, with about 15,6% aged over 65. It is estimated that by 2040 the number of persons aged 65 or over will be 4.6 million, out of an estimated total population of 18 million. Like many other countries in Western Europe, the Netherlands is an “immigration country.” In 2060 The Netherlands will have an expected number of inhabitants with a migratory background of 5,7 million, where it had 3.7 million in 2015.

It is likely that the cultural sector may want to respond to these changes in society. Social cohesion and accessibility of the arts and culture may be essential subjects for the coming years, and may gain importance56. Topics originating in the Dutch colonial past, or related to that, are addressed via media and public debate.

Urban development and population decline in rural areas create a range of challenges for the culture sector. One important issue to be faced in future cultural policy is therefore how local and national cultural amenities and institutions should deal with these demographic trends and how authorities should respond.57

The national government is preparing cultural policy plans for post-2021 in dialogue with the cultural sector, local governments and civil society. The Netherlands Commission for Unesco is studying social inclusion and its relation to culture.

At the time of writing the new government was in the process of formation. The new minister of Education, Science and Culture will choose his or her accents in policy for the years to come.

55 Statistics mentioned in this chapter are to be found in https://www.cbs.nl/nl-nl/achtergrond/2014/51/bevolkingsprognose-2014-2060-groei-door-migratie 56 SCP report Werelden van verschil https://www.scp.nl/Publicaties/Alle_publicaties/Publicaties_2015/Werelden_van_verschil and Gescheiden werelden https://www.scp.nl/Publicaties/Alle_publicaties/Publicaties_2014/Gescheiden_werelden 57 Ibid, p.32.

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Annexes

1. Economy and Finance1.1.Total Flows of Cultural Goods and Services58

1.1.1. Cultural GoodsUSD Year

Total exports in cultural goods 9.395,16 mln 2012

Total imports in cultural goods 9.775,18 mln 2012

1.1.2. Cultural Services

1.2.Contribution

of cultural activities Gross Domestic Product59

Euro YearTotal GDP 607860 mln 2015

Share of cultural activities in GDP 2,23% 13.555 mln 2015

1.3.Government expenditure on cultureEuro

Total government expenditure60 306730 millionShare of culture in government expenditure61 0,23% 713 million

2. BooksNumber of published titles: 18.520 new books in Dutch were published in The Netherlands in 2015. 14.310 of these were in first print62.Number of publishing companies: in 2015 there were roughly 4200 publishing companies.63

Bookshops and Sales: around 1350 bookstores and 160 online retailers hold 95% of total the revenue.64

3. Connectivity, infrastructure, accessYear

58 http://unctad.org/en/PublicationsLibrary/webditcted2016d5_en.pdf59 http://statline.cbs.nl/statweb/publication/?vw=t&dm=slnl&pa=82262ned&d1=0-4,9-17,20-21,88,91,94,97,130-132,135-136,139,142&d2=a&hd=141013-1643&hdr=g1&stb=t 60 http://statline.cbs.nl/Statweb/publication/?DM=SLNL&PA=82560NED&D1=5&D2=88&VW=T61 Ministry of Education, Culture and Science, Jaarverslag 2015 artikel 14 (2015). This is the expenditure on Culture from only the Ministry of Education, Culture and Science.62 http://kvbboekwerk.nl/monitor/makers-en-hun-werk/#aantaltitels 63 http://kvbboekwerk.nl/monitor/uitgeverijen/#uitgeverijen 64 http://kvbboekwerk.nl/monitor/boekverkoop/

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USD YearTotal exports in cultural services 763,21 mln 2012

Total imports in cultural services 1.591,30 2012

Number of mobile phone subscribers per 1000 inhabitants65

2310 2016

Number of households with internet access at home66

92% of the total number of households in the Netherlands

2015

Number of individuals using the internet67 94% of the total number of inhabitants aged +12

2015

4. Cultural participationPopular

performance

Canonized performance

Visual arts Heritage Libraries Total68

Total (%) 82 38 59 66 39 92Male (%) 81 35 58 67 33 91

Female (%) 82 42 60 65 45 92

Male Female Total69

Too expensive 20 25 23Lack of interest 48 40 44

Lack of time 57 55 56Lack of information 33 29 31

Too far away 22 28 25

5. MediaBroadcasting and audience share (2015) 70

Programme type Audience share Type of ownership Type of accesNPO 1 19,4% Public FreeRTL4 15,2% Private FreeSBS6 7,7% Private Free

NPO 2 6,2% Public FreeNumber of newspapers

Number of daily printed newspapers (2015) in print71

Free: 1Paid: 23Total: 24

65 https://www.acm.nl/nl/publicaties/zoeken-in-publicaties/?zf[]=so%3A7&zf[]=th%3A466 http://statline.cbs.nl/Statweb/publication/?DM=SLNL&PA=83291NED&D1=a&D2=0-5&D3=0&D4=a&VW=T 67 https://www.cbs.nl/nl-nl/nieuws/2016/22/acht-procent-van-de-nederlanders-nooit-op-internet68 SCP, Sport en Cultuur patronen in belangstelling en beoefening, p. 39. Statistics from 201469 SCP, Kunstminnend Nederland (2013) pp. 32, 87.70 Commissariaat voor de Media, Mediamonitor 2015, http://www.mediamonitor.nl/mediamarkten/televisie/televisie-in-2015/71 Commissariaat voor de Media, Mediamonitor 2015, http://www.mediamonitor.nl/mediamarkten/dagbladen/dagbladen-in-2015/

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SUBMISSION

Name of the designated official signing the report

Title* Ms.

First Name* Mariëtte (Jet)

Family Name* Bussemaker

Organization* Ministry of Education, Culture and Science

Position* Minister of Education, Culture and Science

SIGNATURE DATE OF SUBMISSION

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