Objectives
The main objectives of cultural policies implemented by any level of the Spanish public administration are the preservation of cultural heritage and the promotion of access to culture. The differences arise in what is considered cultural heritage (tangible versus intangible; of the state versus identities) and which types of cultural manifestations should be promoted and how access should be granted and financed.
If we analyse recent cultural policies in terms of the cultural policy principles defined by the Council of Europe, we see that promotion of national identity – the main vehicle for articulating cultural policy in the regions, particularly in those having separate language environments – has been exacerbated in recent years.
In terms of recognising diversity, the very way the Spanish state is organised territorially has been an admission of the cultural diversity of the country. Protection of diversity has been mainly interpreted by looking internally at the individual traits of the various cultures comprising modern-day Spain. Since 2000, as a result of the dramatic increase in immigration, recognition of another form of cultural diversity beyond national borders was included in the cultural policy agendas, as part of the social integration of immigrant groups.
Support for cultural creativity has been traditionally articulated as an aim of cultural policy along three main axes: statutory protection of intellectual property; the teaching of creative arts; and specific measures to promote the work of creative artists themselves.
Access to culture and participation in cultural life are among the prime objectives of recent Spanish cultural policy. However, generating demand outside the sphere of mass culture turned out to be a complex issue. Equally, the democratisation of culture, understood as the citizens’ right to have their say about how the cultural life of their communities is defined, leaves considerable room for development in the search for a fully rounded Spanish cultural policy.
Main features: Spanish cultural policy has undergone profound and rapid changes since 1977. The cultural model of the democratic period has combined the recognition of cultural pluralism, the determination of the state to foster culture and a massive decentralisation of administrative tools, in accordance with the rules for the territorial government laid down in the Constitution of 1978.[1] This model has also tried to favour an increase in the involvement of private companies and civil society in running the country’s culture. The relevance of one characteristic or another has depended on the political party in office and its relationships with regional governments.
Traditionally, Spain’s decentralised policy has favoured different models for cultural management and for supporting and promoting artistic creation, though much of the funding is ultimately linked to public budgets. Thus, the institutions’ economic and operational autonomy could be limited. Sometimes, the creation of arms-length bodies has been encouraged; sometimes, advisory councils have tried to connect cultural policy with relevant cultural stakeholders.
Since the early 1980s, several Spanish autonomous communities have developed advisory and governance bodies in the cultural field. Galicia was an early example with the creation of the Galician Council of Culture (Act 8/1983), a statutory advisory institution tasked with promoting and safeguarding Galician cultural values. Shortly afterwards, Navarre established the Navarre Council of Culture as a consultative body linking the administration with the cultural sector (Foral Decree 241/1984, regulated by Foral Decree 86/2020). In the early 1990s, the Community of Madrid set up the Council of Culture of the Community of Madrid as an advisory and participatory body (Act 6/1992). Since 2000, the Basque Country has operated a collegial advisory body for participation and consultation in cultural matters (Decree 219/2000, updated by Decree 19/2023). Catalonia later created the National Council for Culture and the Arts (Act 6/2008), the first arm’s-length body of its kind in Spain, subsequently reformed to strengthen its supervisory and advisory functions (Act 11/2011). In 2011, Andalusia established the Andalusian Agency for Cultural Institutions through the merger of several arm’s-length bodies (Act 1/2011; Decree 103/2011, amended by Decree 13/2023). Similarly, Castile and León created the Council for Cultural Policies as a regional body for participation and coordination in culture, the arts, and cultural heritage (Decree 26/2012).
Background
1939-1975: The official culture of Francoism combined fervent nationalism with equally fervent Catholicism. Its artistic predilection was for traditional styles. From the 1960s onwards, rigid press and education policies began to soften.
1977-1982: In 1977, the Ministry of Culture was established and, by means of international exhibitions, congresses, prizes and appointments, much of the cultural heritage silenced by Francoism was recovered, and the work of exiled artists and intellectuals recognised. The Constitution of 1978 and the charters of regional autonomy set up under its aegis initiated a period of freedom of the press and artistic expression, combined with greater state activity in disseminating culture and giving full recognition to the cultural and linguistic diversity of Spain.
1982-1996: Successive Socialist governments emphasised the need for public intervention in areas where private cultural provision was limited. In the initial phase, up to 1986, policy priorities focused on preserving a deteriorated historic and artistic heritage, renovating theatres and auditoriums, and supporting artistic production through public subsidies. At the same time, the progressive decentralisation of competencies to regional authorities led to a reorganisation and reduction of the central Ministry’s role.
In a second phase (1986–1996), cultural policy gained greater public visibility through the organisation of major cultural events. This period was characterised by increased artistic activity and greater freedom of expression, alongside stronger international cultural exchange. However, this expansion also coincided with structural constraints, particularly limited financial resources. While decentralisation contributed to the recovery and strengthening of regional cultural diversity, it did not consistently translate into broader participation in cultural activities or sustained improvements in artistic quality.
1996-2004: Under the liberal-conservative government of the Popular Party, the main lines of ministerial action remained broadly stable, focusing on the protection and dissemination of Spain’s historic heritage, the management of major national cultural institutions (museums, archives, and libraries), and the promotion of film, theatre, dance, and music. At the same time, a stronger deregulatory orientation led to increased efforts to involve the private sector in the development and financing of cultural initiatives.
2004-2011: Under successive Socialist governments, the Ministry of Culture underwent several organisational restructurings, with cultural industries emerging as a central policy priority. However, the onset of the economic crisis had a significant impact on the cultural field, leading to the adoption of austerity measures aimed at reducing the public deficit.
2011-2018: This period was marked by structural adjustments and continued reductions in public funding. Culture and education also became areas of significant political tension between the central government (led by the Popular Party), the Autonomous Communities—particularly those with co‑official languages—and actors within the cultural and creative sectors.
2018-2026: The centre-left coalition governments, led by the Socialist Party in partnership first with Unidas Podemos and later Sumar, and supported by regional and nationalist parties, placed renewed emphasis on cultural diversity and access to culture. Key policy initiatives included the introduction of cultural voucher schemes targeting young people, the development and progressive implementation of the Artists’ Statute, and the adoption of an ambitious Cultural Rights Plan aimed at safeguarding the rights of cultural workers, artists, and citizens.
[1] Prieto de Pedro, J (2004) Cultura, culturas y Constitución. Editorial Centro de Estudios Políticos y Constitucionales. Madrid (second edition).
Comments are closed.