Objectives:
Dutch cultural policy is guided by the arm’s-length principle, meaning the state does not make judgments about artistic quality, but instead focuses on creating the structural conditions for cultural expressions through cultural policy and funding. Through this form of government intervention, the objective is to reinforce the autonomy of the cultural sector, allowing artistic development to be largely driven by artists, citizens, and independent cultural foundations. Over the years, priority areas have been guaranteeing the production of high artistic quality, participation, education, innovation, talent development and entrepreneurship. Another priority area is the preservation of cultural heritage (museums, archaeology, monuments and intangible heritage) on the basis of the Heritage Act (see chapters 3.1 and 4.2.2).
In addition to cultural policy, the central government also develops policy concerning media. Dutch media operate on the basis of freedom of speech and independence of journalism. The government is not allowed to interfere in media expressions. The Dutch government sees it as its responsibility to provide a good climate for media pluralism and access to free, pluralistic, independent and reliable information of high quality. For that purpose, the government enables an independent representative public broadcasting system (national, regional and local) with the obligation to offer high-quality, varied and balanced content. The principles governing the organisation, funding and tasks of these public broadcasters are laid down in the Media Act (Mediawet, 2008) (see chapters 2.5.3 and 3.5.3).
Main features:
According to the Cultural Policy Act (Wet op het specifiek cultuurbeleid, 1993), the Minister of Education, Culture and Science presents a policy memorandum every four years. These policy plans review the past policy cycle, name relevant developments and give the guidelines for cultural policy in the next four years. The aim of this cyclical process is to provide the cultural sector with stability while allowing for adaptability.
The responsibilities that are assigned to the Minister of Education, Culture and Science are mainly found in providing conditions for the preservation, development, and social and geographical distribution of cultural expressions of national significance. To do so, the Minister is tasked to follow the principles of quality and diversity (in disciplines). As of 2 July 2024, the position of Minister of Education, Culture and Science is held by Eppo Bruins, representing the New Social Contract (NSC) party, in the Schoof cabinet. As of 22 september 2025 his successor was Gouke Moes representing the Farmer Citizen Movement (BBB) in the then care taking cabinet Schoof. In spring 2026 there will be be a newly formed cabinet with a new Minister.
In order to provide a structure for a supply of high-quality art and culture, a national basic infrastructure (Basis Infrastructuur (BIS) – in Dutch) is determined every four years, listing the cultural institutions that are to receive direct state subsidy. The Dutch Council for Culture – an independent advisory body composed of experts from the cultural field – is tasked with evaluating the subsidy applications for the BIS. Artists and smaller cultural organisations are supported by the state indirectly, through six public cultural funds (see chapter 7.1). In addition to these subsidies, provinces and municipalities also award grants (see chapters 1.2.3 and 1.2.4).
Background:
The arts and culture were introduced into the governmental portfolio in 1918, with the formation of the Ministry of Education, Arts and Science (then: OKW). There has been a department for arts and culture ever since, with a minister and/or a state secretary responsible for the cultural portfolio.
1930: The start of media policy. With an allocation on broadcasting time, plans for a single national broadcasting company were abandoned in favour of a system that reflected the “pillarised” (in Dutch: verzuilde) society of liberals, socialists, Catholics and Protestants.
1945-1960: Post-war, the government extended its financial support to new areas such as film, theatre and literature. At that time, it was generally assumed that state aid to art and culture should be temporary. In the early 1950s, the Dutch Arts Council (now Council for Culture) was established.
1960-1970: The influence of the “pillars” decreased in Dutch society, while the importance of diversity in artistic expression grew. Nationwide support of the arts and culture became more structural as part of a growing welfare state. The Broadcasting Act (Omroepwet) was created, which made it possible for public broadcasters to enter the media sector, but here the “pillarisation” still remained the guiding principle.
1970s-1980: Cultural policy became increasingly important in the government’s welfare policy. The benefits and relevance of culture to society at large were recognised as a priority, notably in terms of cultural participation and accessibility.
1980-1990: Due to the economic stagnation of the early 1980s, budget cuts were made, and cultural institutions were stimulated to reduce their dependence on subsidies. In 1988, the systematic (four year) Arts Plan was adopted, in which the Council for Culture assesses the quality of the institutes that receive direct state funding. From 1988, commercial broadcasters were allowed to enter the media market of The Netherlands.
1990-2000: National Museums (in Dutch: Rijksmusea) acquired more organisational independence. Cultural organisations were encouraged to become less dependent on subsidies and increase focus on their own markets and audiences (especially younger audience and ethnic minorities). The Cultural Policy Act of 1993 (Wet op het Specifiek Cultuurbeleid) prescribed the renewal of the cultural policy plan every four years.
2000-2010: Cultural policy was – again – focused on encouraging cultural organisations to become more independent and increase their attention on markets and audiences. There was emphasis on participation and better facilities for and guidance of outstanding talent. In this same period, economic crisis ceased the relatively long period of gradual growth in the state budget for culture and media. Plans were made to recalibrate the cultural policy system, which lead to the introduction of the BIS in 2009. Since then, smaller cultural institutions and companies should apply directly for subsidies from the public cultural funds (see chapter 7.2.2), which increased the funds’ responsibilities.
2010-2020: The Rutte I Cabinet (2010-2012) determined the outlines for subsequent substantial budget cuts, aimed primarily to modern forms of culture (visual arts, performing arts) and the national public broadcaster, but mainly sparing cultural heritage. It was the first time in years that budget cuts were guided by ideological motives, which was a shock to the cultural and media sector in the Netherlands. Minister Jet Bussemaker (2012-2017, Social-Democrat Party) had a more supportive vision on culture and could reverse part of the budget cuts. The socio-economic position of artists was put on the agenda again.
2020-present: The Government, confronted by the Covid-19 pandemic, introduced different forms of general support, and additional substantial funds for the cultural sector. State Secretary Gunay Uslu (2022-2023) had an extra structural budget for culture (170 million euro). She announced that no structural changes would be implemented in the next policy period (2025-2028), allowing the sector to restore from Covid. She did however request the Council for Culture to critically review the existing subsidy system. Codes of conduct for cultural governance, diversity and inclusion and fair practice (see chapter 2.5) became mandatory for cultural organisations seeking state funding.
In July 2024, the centre-right Cabinet Schoof started. For the first time the radical-right populist party PVV became part of in government. Budget cuts on culture were relatively moderate (culture was not even mentioned in the Coalition Agreement); budget cuts on media were more substantial: a reduction of the budget of the Dutch Public Broadcaster (NPO) with 150 million euros and changes in the structure of the national public broadcaster were announced (see chapter 2.1). The initially planned increase of the VAT rate for culture has been reversed by parliament. Since June 2025, the Cabinet Schoof has been a caretaker government, new elections were held in October 2025.[1]
[1] For a more extensive discussion of the objectives, main features and background of the Dutch cultural policy system, refer to ‘An Introduction to Cultural Policy in the Polder’ by Edwin van Meerkerk and Quirijn van den Hoogen in Cultural Policy in the Polder: 25 Years Dutch Cultural Policy Act (2018).
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