3. Cultural and creative sectors
Spain
Last update: September, 2026
At the state level, cultural heritage policy in Spain is led by the Directorate‑General for Cultural Heritage and Fine Arts, through bodies such as the Office for the Protection of Historical Heritage and the Spanish Cultural Heritage Institute (IPCE). Their core functions include safeguarding heritage assets, enhancing state-owned collections, promoting international cooperation, and carrying out conservation and restoration interventions.
Policy action is structured around several key priorities: strengthening legal mechanisms to prevent illicit trafficking; improving cataloguing and documentation systems; supporting acquisitions for public museums, libraries and archives; and financing conservation through instruments such as the “1% Cultural” programme. The Ministry of Culture also plays a coordinating role with the Autonomous Communities—which hold primary competences—through bodies such as the Historical Heritage Council.
These actions are articulated through the National Cultural Heritage Plans—currently fourteen—which provide a shared framework for coordination across public administrations and private actors, integrating conservation, research, training and dissemination.
In parallel, state-managed institutions such as Patrimonio Nacional [National Heritage] oversee Royal Sites and Collections, combining conservation with public access and the modernisation of management systems. Reporting to the Ministry of the Presidency, this body fulfils both institutional representation functions and cultural, educational and scientific objectives.
Spain’s cultural heritage governance reflects a consolidated multi-level system in which the main challenges concern implementation and coordination rather than conceptual expansion. Within this framework, several persistent issues can be identified:
- Legal and administrative coordination across levels of government. Challenges remain in aligning national, regional and local heritage regimes, particularly regarding ownership, protection frameworks and the balance between public interest and private rights.
- Social function and territorial embedding of heritage. Heritage increasingly contributes to identity formation, education and local cohesion, although implementation remains uneven across territories and institutions.
- Conservation versus economic and touristic use. Tensions persist between preservation objectives and tourism-related pressures, particularly in highly visited sites where sustainability and regulatory capacity are key concerns.
- Consolidation of expanded heritage categories. Intangible, industrial and contemporary heritage are now fully integrated into policy frameworks; the main challenge lies in ensuring their effective management and long-term sustainability.
Recent policy developments reflect a shift towards sustainability, digital transformation and increased social participation in heritage governance. Notable measures include the expansion of the “2% cultural” scheme in 2021—allocating 1% of its funds to artistic creativity—, the adoption in 2025 of the Protocol for the Implementation of Renewable Energy in Cultural Heritage Assets, and the approval in 2026 of the National Archaeology Plan, the first new heritage plan since 2015. Together, these initiatives illustrate an emphasis on coordination, environmental adaptation and policy renewal.
Last update: September, 2026
The Subdirectorate-General for Library Coordination carries out its activities along four main strategic lines: cooperation; information and communication technologies (ICT); the improvement of library infrastructure and resources; and the preservation of bibliographic heritage. A key priority in recent years has been to improve public access to cultural works via the Internet. To this end, the Ministry has implemented several initiatives, including:
- the Portal of Spanish ArchiveS (PARES), a web-based database providing access to the national historical documentary heritage;
- the Virtual Library of Bibliographical Heritage, which enables users to consult a wide range of digitised documents from Spain’s bibliographical collections;
- the Virtual Library of Historical Newspapers, which contributes to the Europeana and Europeana Local projects;
- the Museum Libraries Network (BIMUS), offering access to the catalogues of libraries from 18 state-owned museums; and
- Hispana, the national aggregator of digital collections from archives, libraries and museums, with functions analogous to Europeana.
The Cultural Rights Plan 2025-2030, adopted in July 2025, introduces measures aimed at reinforcing the social role of archives and libraries. In the field of archives, the Plan promotes a more plural understanding of collective memory through the creation of a Social Movements Archive and the development of initiatives to incorporate the experiences of historically marginalised groups into national archival collections. Additional actions include the establishment of research teams to reassess existing holdings, support for training in the creation and maintenance of citizen archives, and increased visibility of collections related to colonial history, slavery and cultural diversity. The digitisation of and public access to these materials are also key priorities.
Regarding libraries, the Plan supports the development of a Network of Citizen Laboratories in Libraries, aimed at strengthening their role as civic spaces for participation and social innovation beyond traditional lending functions. It also promotes the contribution of libraries to broader sustainability and wellbeing objectives, including their potential role as climate shelters in the context of climate adaptation policies. Furthermore, financial support is provided for the modernisation and environmental sustainability of libraries in municipalities with fewer than 50,000 inhabitants.
Last update: September, 2026
The promotion of cultural creation has been a central objective of Spanish cultural policy throughout the democratic period. Within this framework, the performing arts and music have consistently received significant public support and remain a major field of cultural intervention after heritage.
Over the past decade, policy priorities have focused on increasing demand, strengthening institutional cooperation and improving territorial balance. Efforts have centred on promoting circulation networks and exchanges across regions, enabling theatre, music, dance and circus productions to reach wider audiences while enhancing the quality of programming at all levels of government.
Institutionally, the creation in 2025 of the Directorate-General for Performing Arts and Music (Royal Decree 1028/2025) marked a significant reform, separating policy design from operational management, which remains under the National Institute for Performing Arts and Music (INAEM). This reorganisation has improved administrative efficiency and sectoral specialisation while maintaining an integrated approach to the performing arts value chain. INAEM continues to manage artistic programmes, foster cooperation with public and private actors, and provide financial support for production, touring and exhibition. Eleven national production units remain within its structure, along with initiatives such as the Inclusion in the Performing Arts Conference Series, while heritage and documentation functions have been transferred to the Directorate-General.
Recent policy developments also reflect a renewed commitment to specific sectors. In particular, greater emphasis has been placed on the circus sector through the Strategic Framework for Circus in Spain (2025–2030), which aims to strengthen artistic creation, professional training, heritage preservation, and both national and international circulation.
The Cultural Rights Plan 2025-2030 reinforces these priorities through targeted measures, including grants for theatre and circus, increased funding for translation and subtitling in co-official languages, and initiatives promoting inclusion and cultural democracy. The Plan also prioritises gender equality, including the objective of achieving 40% representation of women in INAEM programming.
Alongside structural reforms, audience development and access remain key concerns. Digital platforms such as danza.es and teatro.es enhance the visibility of artistic production and facilitate communication between creators and audiences. Programmes supporting inclusion, participation and new cultural uses of public space further reinforce this approach.
In terms of territorial circulation, the PLATEA Programme, implemented by INAEM in collaboration with the Spanish Federation of Municipalities and Provinces (FEMP), plays a central role in supporting stable performing arts seasons in local venues. In recent editions, the programme has expanded to more than 150 venues across most regions, facilitating hundreds of performances and attracting large audiences. It is complemented by additional circulation schemes such as Circo a Escena, Girando por Salas and Danza a Escena, which further promote touring and access to cultural programming nationwide.
Finally, internationalisation and innovation have gained increasing importance. The creation in 2026 of the Office for Dance Dissemination (ODD) reflects renewed efforts to promote Spanish performing arts internationally through initiatives such as professional showcases, residency networks and collaboration with leading centres of artistic research.
Last update: September, 2026
At the state level, contemporary visual arts policy in Spain is promoted by the Deputy Directorate-General for Visual Arts and Contemporary Creation, which supports artistic production and fosters collaboration with cultural and professional networks.
Recent policy developments, particularly within the Cultural Rights Plan 2025-2030, have prioritised territorial balance and access to cultural rights. Key measures include the strengthening of decentralised artistic residencies and the development of hybrid, multi-site initiatives connecting different territories in Spain and across Europe. These initiatives aim to promote artistic mobility, reduce regional disparities and encourage new forms of cultural cooperation, often linking visual arts with other disciplines—such as audiovisual production, architecture and performance—in response to contemporary challenges, including the climate emergency.
Within this framework, the Tabacalera Centre for Artistic Production and Residencies (Madrid) has been reinforced as a national hub for contemporary creation. Its model combines artistic production, residency programmes and community-oriented activities. The allocation of spaces within the Tabacalera complex to the Remontada Tabacalera collective and other local associations has further strengthened its social and participatory dimension, reinforcing links between contemporary creation and community engagement.
Beyond Madrid, Tabakalera (San Sebastián) operates as an International Centre for Contemporary Culture, combining creative production, public programming and collaboration with cultural and research institutions. In parallel, initiatives such as Medialab Prado exemplify citizen-based innovation through open calls, collaborative projects and interdisciplinary experimentation, contributing to more participatory models of cultural production.
Policy support is complemented by sectoral initiatives aimed at improving the professional conditions of artists and cultural operators. Organisations such as the Institute of Contemporary Art advocate for greater recognition of the sector and improved access to public funding, including mechanisms linked to the “2% cultural” scheme. Professional associations such as the Spanish Association of Conservators and Restorers (ACRE) emphasise the importance of specialised training standards in heritage-related practices.
In the field of crafts, Fundesarte remains the leading organisation promoting and supporting Spanish craftsmanship. Since 2014, it has been integrated into the EOI Foundation (School of Industrial Organization), attached to the Ministry of Industry and Tourism. Its activities aim to strengthen the cultural and economic value of the sector through initiatives focused on visibility, innovation, sustainability and competitiveness. These include the organisation of the National Crafts Awards, coordination of the European Crafts Days, and the international promotion of Spanish crafts through exhibitions and cultural programmes.
Last update: September, 2026
Spanish cultural and creative industries (CCI) policy has evolved towards a consolidated framework combining innovation, digital transformation and territorial development. Current policy is structured around project-based support instruments coordinated by the Centre for the Coordination of Cultural Industries, which promotes cultural and creative activity across sectors such as audiovisual production, music, publishing, design, videogames, architecture and digital creation. This approach reflects a shift from sector-specific policy frameworks towards a broader ecosystem-based understanding of cultural production, closely linked to innovation systems and economic development.
Public policy instruments prioritise the strengthening of small and medium-sized enterprises (SMEs), the professionalisation of the sector and improved access to funding through grants and innovation-oriented support schemes. Increasing attention is also given to collaboration between cultural operators, technology centres and research institutions, reinforcing the integration of culture within wider innovation ecosystems.
At the territorial level, CCIs are strongly embedded in regional innovation and cluster-based strategies. A prominent example is the Basque Country, where CCIs form part of smart specialisation strategies (RIS3) and are supported through initiatives such as the Basque District of Culture and Creativity (BDCC), which connects universities, companies and public institutions to foster innovation and internationalisation.
Similarly, Catalonia has developed a highly structured creative ecosystem combining public support, cultural institutions and innovation-led strategies, with Barcelona functioning as a major European hub for design, audiovisual production and digital creativity. In Madrid, policy development increasingly focuses on creative entrepreneurship, cultural programming and acceleration programmes for cultural enterprises, while the Valencian Community has strengthened its cultural and audiovisual strategy through integrated support for creative industries, innovation and internationalisation.
According to the Cultural Statistics Yearbook 2025, cultural industries accounted for approximately 2.2% of Spain’s GDP in 2023, rising to 3.4% when intellectual property-related activities are included. The sector generated more than 31 billion euro in gross value added, with audiovisual and multimedia, publishing and visual arts representing the largest components.
From a European comparative perspective, cultural employment accounted for 3.8% of total employment in the EU in 2024, placing Spain broadly in line with the European average. In Spain, the cultural sector employed approximately 771,000 people in 2024 (3.6% of total employment), confirming its structural relevance within the labour market.
The business structure remains highly fragmented and dominated by SMEs: 68.3% of enterprises operate without employees, 26.6% have between 1 and 5 employees, 4.7% between 6 and 49 employees, and only 0.4% employ 50 or more workers. In total, the sector comprised approximately 185,500 enterprises in 2024, representing 5.7% of all registered companies. This structure underlines the importance of targeted policy instruments to support financing, scalability and digital transformation.
In terms of international trade, exports of culture-related goods reached approximately 2.1 billion euro in 2024, while imports amounted to 2.6 billion euro, maintaining a structural trade deficit despite a slight increase in exports and a decline in imports. As in previous years, the publishing sector remained the strongest-performing segment, generating 553.7 million euro in exports and sustaining a positive trade balance.
Last update: September, 2026
In the field of books, Spanish cultural policy—led by the Subdirectorate-General for the Promotion of Books, Reading and Spanish Literature—focuses on three main priorities: promoting reading, supporting the publishing sector, and strengthening the international presence of Spanish literature. In recent years, particular emphasis has been placed on digital transformation, including the modernisation and digitisation of publishing activities.
Reading promotion remains a central objective, supported by both long-standing and recently updated national initiatives. The Plan for the promotion of reading 2021-2024 provides the overarching framework, complemented by long-running programmes such as the Maria Moliner Campaign (since 1998), which targets municipalities with fewer than 50,000 inhabitants and contributes significantly to territorial cohesion. Additional initiatives include reading promotion activities linked to cultural events and commemorations, as well as programmes specifically designed for rural and depopulated areas.
These efforts are reinforced under the Cultural Rights Plan 2025-2030, which introduces measures to ensure equitable access to cultural creation and circulation across all official languages. These include grants for literary creation and comics, funding for translation both between Spain’s co-official languages and into foreign languages, and support for publishing and cultural magazines. Further actions aim to strengthen reading habits and audience development, particularly through targeted programmes in rural areas and investments in the modernisation and sustainability of public libraries in smaller municipalities.
At the regional level, the Autonomous Communities implement complementary strategies adapted to their respective contexts. Notable examples include Catalonia’s National Book and Reading Plan and Madrid’s #LeeMadrid Strategic Plan for Books and Reading (2025–2028), which focus on promoting reading, reducing digital divides, and supporting the broader book ecosystem. Similar initiatives are developed in other regions through coordinated cultural, educational and library policies.
The sector is underpinned by a stable legislative framework, notably the Reading, Books and Libraries Act (2007) and the fixed book price system, which together support Spain’s “cultural exception” model and contribute to diversity and sustainability in the publishing market. Monitoring and evaluation are supported by instruments such as the Reading and Book Observatory.
Internationalisation remains a key pillar of policy. The Ministry of Culture promotes Spanish literature abroad through translation grants, regular participation in international book fairs, and collaboration with institutions such as the Instituto Cervantes, cultural centres and universities, particularly in Latin America. Spain’s participation as a guest or focus country at major international fairs in recent years reflects a sustained strategy to enhance the global visibility of Spanish authors and the publishing sector.
Last update: September, 2026
Spanish audiovisual policy operates within a consolidated framework in which cultural, industrial and digital objectives are increasingly articulated through integrated governance structures. Its current strategic orientation is closely linked to Spain’s positioning as a major production hub, structured around the Spain, Audiovisual Hub of Europe initiative, launched in 2021 and consolidated as a long-term policy axis. Within this framework, priorities such as internationalisation, competitiveness, talent development and digital transformation increasingly extend to interactive media and videogames, understood as integral components of the broader cultural and creative industries ecosystem.
At the national level, the Institute of Cinematography and Audiovisual Arts (ICAA) remains the main implementing body, responsible for production support, distribution frameworks, international promotion and audiovisual heritage preservation, while ensuring coordination with the Autonomous Communities. Policy development emphasises sectoral resilience, linguistic diversity and support for independent production within an increasingly platform-based and globalised environment.
Recent policy evolution reflects the growing integration of audiovisual production within broader digital governance frameworks. The Cultural Rights Plan 2025-2030 embeds audiovisual policy within a rights-based approach that prioritises access, participation and sustainability. Particular attention is given to the development of digital infrastructures, open technological standards and emerging regulatory challenges associated with artificial intelligence, including transparency, ethical governance and the conditions of cultural production in algorithmic environments. Digital platforms such as PLATFO contribute to the dissemination and accessibility of audiovisual heritage and contemporary production.
Regulatory and financial mechanisms continue to operate through both European and national frameworks that promote investment in European works, strengthen independent production structures and safeguard market diversity. These instruments are increasingly deployed in a context shaped by platformisation and the transformation of audiovisual distribution systems.
Territorially, audiovisual activity is structured through regional ecosystems and creative clusters that bring together public administrations, cultural institutions, universities and innovation centres. This multi-level configuration reflects a broader shift towards place-based cultural and industrial development in regions such as Madrid, Catalonia, the Valencian Community and the Basque Country.
The videogame and interactive media sector is now fully incorporated into cultural and innovation policy frameworks, recognised as a structural component of the creative industries. Policy attention focuses on consolidation, professionalisation, internationalisation and its growing interconnection with audiovisual production and digital technologies.
Audience development has also become an important area of intervention. Initiatives such as Cine Sénior and Cine Escuela aim to broaden participation and improve access among different social groups, reflecting a wider commitment to cultural inclusion and audience diversification.
Last update: September, 2026
Spanish cultural policy in the field of music has traditionally combined the protection of intellectual property with support for cultural creation and the strengthening of the music value chain.
Alongside regulatory measures, public policy has addressed issues related to piracy and access to cultural content through a combination of enforcement strategies, awareness campaigns and educational initiatives. Early instruments, such as national anti-piracy strategies, have progressively evolved towards approaches centred on legal access, digital platforms and the promotion of legitimate cultural content. More recent initiatives, such as Cultura en Positivo [Culture in Positive], reflect this shift by encouraging responsible digital consumption and supporting sustainable cultural ecosystems, particularly among younger audiences.
In recent years, policy attention has increasingly focused on the internationalisation and competitiveness of the Spanish music sector. Within this framework, initiatives such as Music by Spain (2026) illustrate a growing emphasis on coordinated international promotion aimed at strengthening the global presence of Spanish artists and music professionals. This approach builds on a broader ecosystem of cultural diplomacy and export support involving institutions such as the Ministry of Culture, the Spanish Agency for International Development Cooperation (AECID), the Instituto Cervantes and Acción Cultural Española (AC/E), alongside sectoral organisations such as Es_Música.
At the territorial level, music policy is increasingly structured through regional strategies and place-based cultural ecosystems. These include funding schemes, support for live music and integrated cultural development programmes. A representative example is the València Music City 25–30 strategy in the Comunitat Valenciana, which frames music as a transversal driver of cultural, social and economic development, combining governance innovation, urban planning and support for the local music industry within a long-term strategic vision.
Last update: September, 2026
Design and creative services in Spain are increasingly framed within a cross-cutting policy approach linking cultural policy, innovation and industrial strategy. Governance is shared across the Ministry of Culture, the Ministry of Industry and Tourism, and the Ministry of Science, Innovation and Universities, with growing emphasis on coordination between cultural and innovation frameworks rather than sectoral separation.
At the state level, the National Awards for Innovation and Design remain a key instrument for recognising excellence and promoting design as a driver of innovation and competitiveness. Complementing this, industrial policy instruments such as Innovative Business Clusters (AEIs) support collaboration between companies, designers, and research centres, strengthening design-led innovation ecosystems.
Cultural visibility and international projection are further supported through major festivals and platforms, such as the Madrid Design Festival and OFFF Barcelona, which highlight the convergence between design, digital creativity and audiovisual culture, while enhancing Spain’s position within global creative networks.
At the territorial level, design is strongly embedded in regional creative ecosystems. Barcelona stands out as a major European hub, supported by institutions such as the Disseny Hub Barcelona (DHub) and a dense network of cultural, professional and innovation actors integrating programming, research and industry collaboration. Madrid also plays a central role through cultural programming and creative industries initiatives, while other regions—notably the Basque Country and the Valencian Community—continue to develop place-based strategies linking design, innovation and territorial development.
Last update: September, 2026
Cultural and creative tourism in Spain has progressively evolved from a predominantly promotional policy framework into a more integrated model linked to sustainability, territorial development and cultural rights. Early strategies—such as the Plan for the International Promotion of Cultural Tourism (2010–2012) and subsequent inter-ministerial cooperation mechanisms—contributed to positioning Spain internationally as a cultural destination through the promotion of museums, heritage sites, performing arts and cultural routes. These initiatives were complemented by related programmes supporting educational and cultural mobility, including the Study in Spain framework.
In recent years, cultural tourism policy has been reoriented towards more integrated governance models combining cultural policy, tourism regulation and sustainability objectives. This shift is reflected in programmes linked to the Recovery and Resilience framework, as well as in updated national strategies that emphasise digitalisation, diversification of tourism flows and the preservation of cultural assets in contexts of high visitor pressure. Public support continues to be channelled through funding schemes for cultural industries, cultural promotion activities and the integration of digital technologies into cultural and tourism services.
Current policy also prioritises improving the visibility and accessibility of Spain’s cultural offer through consolidated platforms and international promotion tools. This approach has progressively replaced earlier, more fragmented communication strategies— such as España es Cultura [Spain is Culture]—with broader institutional branding and integrated digital dissemination systems.
According to the Cultural Statistics Yearbook 2025, cultural tourism further consolidated its importance in 2024. Cultural motivations accounted for 19.8% of leisure trips by residents and 23.6% of international arrivals. Overall, more than 38 million trips were linked to cultural purposes, generating over 38.4 billion euro in expenditure. Compared with pre-pandemic levels (2019), this represents an increase of 12.1% in domestic cultural trips and 32.7% among international visitors, confirming both strong post-pandemic recovery and sustained growth in cultural demand