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.
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