Culture and participation

Importance of the theme

The value of cultural participation forms the heart of Dutch cultural policy. In various (policy) reports, the individual value of cultural participation is emphasized on the one hand, and the societal value it generates on the other. In the advice Access to Culture (2024) Raad voor Cultuur The Council notes that participation in cultural life, through active practice or passive experience, contributes to the broad prosperity of the Netherlands. This concerns not only purely economic value, but the importance of art and culture for other societal developments is also recognized, such as well-being, health, social cohesion, and participation. Access to culture for all segments of the population leads to a sustainable and resilient society and is therefore in the interest of us all.

The advice summarizes the value of culture in three categories:

1. The intrinsic value
   This concerns in particular the attribution of meaning and the mental impact of art and culture on the public. Thus, art and culture can move, shock, amuse, or intellectually affect the public;
2. The societal value
   Participating in arts and culture has proven positive effects on the mental and physical health of people; additionally, it can promote citizenship, democracy, and social cohesion and contribute to shared identities. It can also contribute to societal issues, such as combating loneliness;
3. The economic value
   The cultural and creative sector adds direct and indirect value to the gross domestic product. This concerns the products and services produced, but also the economic impact of cultural institutions and events on a city and on the business climate in general.
   

Policy context

The responsibility of the Dutch government for creating the right conditions within which citizens can develop culturally is laid down in article 22 of the Constitution. Municipalities, provinces, and the central government bear this responsibility jointly and translate it into policy. In doing so, the focus is consistently on a diverse offering that is accessible 'to everyone' (Uslu, 2023; VNG, 2024; IPO, 2025). Moreover, public authorities commit to strengthening the chain of cultural education for children and talent development among young people (Government Gazette, 2025). Agreements regarding the responsibilities and coordination of general cultural policy between the levels of government are laid down in the framework of intergovernmental relations and culture (Government Gazette, 2012) and for cultural practice specifically in Administrative agreements on cultural practice 2025-2028 (Government Gazette, 2025).

Municipalities are responsible for the accommodation of performing arts and municipal collections. In addition, they are an essential link in mediating the supply of cultural education between schools and cultural institutions and in aligning cultural education with extracurricular cultural activities. In the proposition Safeguarding culture together Dutch municipalities are uniting around the objective of keeping culture accessible, available, and attractive to all residents (VNG, 2024). In doing so, emphasis is placed on the societal value of art and culture for domains such as healthcare, well-being, equal opportunities, and a healthy lifestyle. In the publication Hopeful pioneering for a new paradigm The VNG and LKCA present six examples of municipalities that connect culture with the social domain (VNG & LKCA, 2026).

Provinces are responsible for supra-municipal coordination of the regional distribution of facilities and the management of provincial collections. In addition, they support active cultural participation and cultural education in their provinces through Provincial Support Institutions (POIs), united in the Council of Twelve.

The State is responsible for a national basic infrastructure (including national cultural funds) and museums that manage the Dutch national collection. Via the Specific Cultural Policy Act It is stipulated that the central government strives for the social and geographical distribution of culture and takes measures regarding inequality of opportunity, such as the culture card for students. The guiding principles for cultural policy prioritize offerings that are accessible to everyone (Uslu, 2023). With regard to cultural education, the central government provides funding, commissions institutions within the BIS, and national support through innovation, knowledge, and networks.

The Cultural Participation Fund (FCP) plays an important role in implementing this policy regarding active participation in arts and culture. The fund's schemes are aimed at promoting active participation in arts and culture among the Dutch population. Through the scheme VLIAK (Strengthening National Infrastructure for Amateur Arts) support structures for amateur arts will be boosted in the coming years (Noijens, 2025). In addition, through the Fonds in de Regio program, the FCP aims for closer cooperation with provincial support institutions to increase access to cultural participation and distribute resources more fairly (FCP, 2025). You can read more about regional differences in the field of art and culture on the theme page. Culture in the Region.

General developments

The report Cultural participation in figures (de Hoog & Swartjes, 2026) shows that art and culture are part of leisure activities for the majority of the Dutch. For example, nine out of ten (91 percent) Dutch people (aged 6 and older) visited at least once in 2024. cultural activity or location (domestically or abroad). As a result, the share of cultural visitors returns to the level of 2018 and earlier (around 90 percent) for the first time since the corona pandemic.

However, this does not mean that the number of unique visits to cultural institutions is also at the level of before the corona pandemic: in 2024, facilitated cultural institutions a combined 143,6 million visits from domestic and international visitors (see graph 'number of visits' below). This is an increase of 1,6 percent compared to 2023, but significantly lower when compared to 2019: 154,2 million visits (7,4 percent higher than in 2024). This trend is visible across all domains, with the exception of the professional performing arts, where visits in 2024 (23,5 million) exceed the 2019 attendance figures (19,4 million).

The fact that the reach of the Dutch shows a different trend than the visitor numbers has to do with the fact that different things are being measured: the reach of a specific cultural form at home and abroad among the Dutch is fundamentally different than the number of unique visits by all visitors (domestic and international) to cultural institutions in the Netherlands. In addition, there are differences per domain in the frequency of visits and the extent to which foreign tourists are part of the visitor figures.

Movie industry
The number of visits is declining significantly, particularly at cinemas and film theaters: while 38 million film visits were made to Dutch cinemas and film theaters in 2019, this figure dropped by over 23 percent in 2024 to 29,1 million visits (NVBF, 2025). In 2024, 62 percent of the Dutch population attended at least one film in a cinema or film theater; in 2018, this figure was 68 percent (de Hoog & Swartjes, 2026). This decline is partly caused by changed viewing behavior under the influence of streaming services and a more selective attitude among cinema or art-house visitors (NVBF & NVPI, 2026). You can read more about this trend on the domain page. Audiovisual.

Museums
The number of visits to Dutch museums will reach 32 million in 2024 (CBS, 2025), virtually the same as the previous year (31,9 million in 2023). However, growth following the coronavirus pandemic appears to be stagnating well below the 2019 level: at that time, museums recorded 33,9 million visits from domestic and international visitors (6 percent higher than in 2024). Reducing the number of international visitors, in particular, proves to be a challenge for museums: although this number of visitors grew by 2 percent in 2024, at 8,7 million visits it is still more than 15 percent lower than in 2019. Visits by the Dutch, however, are back at a level comparable to 2019 in 2024. This is confirmed by figures from the VTO: 57 percent of the Dutch made one or more visits to a museum (domestically or abroad) in 2024, comparable to 2018 (also 57 percent). One in three Dutch people (32 percent) visited a history and archaeology museum, and 31 percent a museum of art or design. Read more about current trends in the field of heritage and visual arts on the domain pages. Heritage en Visual arts.

Libraries
Dutch libraries recorded 59 million visits in 2024 (KB, 2026), an increase of 4 percent compared to the previous year (56,7 million in 2023). Here too, the number of visits is lower than in 2019: at that time, libraries recorded 62,9 million visits (6,6 percent higher than in 2024). Two out of five Dutch people aged 6 and older (39 percent) visited a library in 2024, comparable to 2018 (when it was 40 percent) (de Hoog & Swartjes, 2026). The frequency with which libraries are visited did decrease slightly: whereas half of library visitors made six or more visits in 2018, this figure is 45 percent in 2024. Nevertheless, this is a very high visit frequency compared to other domains. This is due to relatively low barriers to entry because of proximity (an average of 2 km), price (access is generally free and facilities are often available at a discounted price even to non-members), and flexibility (the time and duration of a visit can be determined independently). Read more about trends in the field of literature on the domain page. Literature.

Performing arts
The number of visits to professional performing arts grew by over 10 percent in 2024 to 23,5 million visits. This significantly exceeds the 2019 figure (19,4 million). Nevertheless, the number of visits within this domain is lower than in other domains. This is because theater attendance, unlike libraries for example, is less suitable for short and frequent visits, as it is often ticket-bound and involves a fixed location, time, and duration. As a result, a relatively large proportion of the population (67 percent in 2024) visits performing arts annually compared to other domains, but the frequency, like cinema attendance for example, is lower than in other domains (de Hoog & Swartjes, 2026).

In 2024, over half of the Dutch attended one or more music concerts (52 percent) and a similar proportion attended a performance by scenic performing arts (50 percent) (de Hoog & Swartjes, 2026). Taken together, two out of three Dutch people attended at least one performing arts performance (67 percent), comparable to 2018 and earlier (68-70 percent). In 2024, more than seven out of ten performing arts visitors attended performances in a theatre, concert hall, or pop venue (73 percent). At the same time, the figures also show that performing arts are experienced in other locations: for instance, 12 percent attended a performance in a café and 12 percent attended a performance in an estate, garden, park, or forest. Nightclubs (10 percent) and churches or other religious buildings (10 percent) are also locations where performing arts are experienced. At the same time, it appears from the  Dutch Live Music Monitor 2008-2024 that fewer and fewer live music performances are taking place at informal venues such as music cafés or public festivals (without an entrance fee) (Mulder & Swartjes, 2026). Read more here about current developments within the domain Music of Theatre.

Differences in cultural visits between population groups

Visiting art and culture is unevenly distributed across the population (de Hoog & Swartjes, 2026). Participation is higher among those with higher professional or university education, among people with higher incomes, and decreases with age. There are strong differences per domain and type of activity in the extent to which groups in the population are reached. In 2024, 34 percent of Dutch people with a VMBO diploma visited a museum, compared to 74 percent of those with a higher professional or university degree, more than double.

Young people under the age of 20 remain among the most active culture visitors: in 2024, 96 percent of 12 to 19-year-olds attended at least one cultural activity. Within this age group, attendance at visual arts and museums is even above the national average. At the same time, shifts are visible within this group: the proportion of 12 to 19-year-olds who attended some form of scenic performing arts reached 43 percent in 2024, compared to 58 percent in 2018. Within other age groups, this proportion is at or around the 2018 level. For music concerts and cinema and art-house cinema visits, the proportion in 2024 is also lower than for the same age group in 2018, although the decline in cinema attendance is not unique to young people.

In the publication Cultural Participation in Figures More detailed information can be found about differences between population groups in cultural visits per domain between 2012 and 2024.

Art and culture visits per province

Visitor figures per province show that most visits to cultural institutions take place in North and South Holland (37,7 million and 30,3 million respectively in 2024). Converted into numbers per capita However, it appears that institutions in North Holland (12,7), Groningen (10,0), and Utrecht (9,2) facilitate the most visits per capita. Zeeland (4,7), Limburg (5,4), and Flevoland (5,7), on the other hand, score relatively low. This is partly due to geographical challenges, a lack of suitable infrastructure, and the diversity of the services offered.

Figures from the LISS panel (Centerdata, 2025) show that the share culture visitors in 2024 was highest among the population of the province of Utrecht (91 percent) compared to other provinces, followed by North Holland (87 percent) and Gelderland (86 percent). The shares of cultural visitors were relatively lower in that year in the provinces of Limburg (77 percent), Groningen (77 percent), and Zeeland (80 percent).

General developments

In addition to visiting art and culture, two out of three Dutch people also practice some form of amateur art or heritage themselves (68 percent) (de Hoog & Swartjes, 2026). Within the practice of amateur arts (57 percent), performing arts hobbies are particularly popular (40 percent), followed by creating visual art (32 percent). These are also the domains where the most frequent practice (monthly or more often) takes place: while 30 percent of the Dutch practice some form of performing arts monthly or more often, this is 20 percent for the practice of visual arts.

Increasingly, research demonstrates the value of active cultural participation, particularly in the field of well-being and care. A study that combined all these studies summarized the effects at three levels (Veldman et al., 2023):

1. Physical and mental well-being (for example, pain, stress, and anxiety);
2. Social and societal (emotional recognition, self-confidence, connectedness);
3. Cognitive functioning (particularly preventive effect).

A striking finding from the VTO figures is that most forms of amateur arts practice have remained roughly constant over the years since the first measurement in 2012. The LKCA Knowledge Synthesis also shows that the proportion of the population engaging in amateur arts is stable (Goossens et al., 2025). However, group practice (such as singing in a choir) declined during the COVID-19 pandemic, in contrast to more solitary forms of practice (such as creating visual art). Meanwhile, this has returned to a level comparable to 2018.

Forty-three percent of the Dutch population do not engage in amateur arts. The 2023 Amateur Arts Monitor shows that the main reasons for this are related to a lack of interest, a lack of time, a lack of talent, or the feeling of not being creative (Neele, 2023).

In addition to amateur artistic practice, many Dutch people also engage in some form of heritage practice, such as conducting research, collecting objects, or preserving traditions. And heritage practice is gaining popularity: two out of five Dutch people were engaged in some form of heritage practice in 2024 (40 percent). This is a significant increase compared to previous years (32 to 36 percent). In particular, conducting research into historical events and persons (30 percent) and local and regional history (22 percent) was done more frequently in 2024 than in previous years. The Heritage Practice Monitor also shows that two out of five Dutch people engage in heritage practice (Burggraaff & Bergwerff 2025); of that group, 43 percent practiced in a group setting, and a quarter through an association or foundation (25 percent).

Differences between population groups in art and heritage practice

Leisure time art and cultural activities are most frequently undertaken by young people (under 20 years of age), women, and people with higher professional or university degrees. People born in a top-5 country appear to engage in relatively less leisure time art and cultural activities – at least regarding the forms included in the VTO. Various studies show that parental encouragement is important for cultural participation – particularly parental education level contributes to this (Goossens et al., 2025).

The distribution of arts and cultural practice across the Dutch population is receiving attention, particularly due to the repeatedly demonstrated positive impact of cultural participation and practice (Goossens et al., 2025). The Administrative Agreements 2025–2028 (between the Minister of Education, Culture and Science, the Association of Netherlands Municipalities (VNG), and the Interprovincial Consultative Body (IPO)) emphasize that all Dutch residents must be able to practice culture and heritage. Furthermore, importance is attached to a broader concept of culture, as there must be “room for a wide range of cultural expressions, from established forms of cultural practice to new forms of art and creativity” (Government Gazette, 2025). Monitoring primarily captures established forms of arts and cultural practice – insight into cultural forms that are not (yet) included in monitors comes mainly from more theory-based research (Goossens et al., 2025).

In the publication Cultural Participation in Figures More detailed information can be found regarding differences between population groups in various forms of amateur art and heritage practice between 2012 and 2024. 

amateur arts practice by province

Data from the LISS panel (Centerdata, 2025) provides insight into the proportion of amateur arts practitioners among the population aged 16 and older per province. This data differs somewhat from the survey in the VTO and focuses particularly on three types of practice within the performing arts and one category within visual artsVisual arts are practiced more frequently in all provinces than the other categories of practice. In 2025, the share of practitioners was highest in the provinces of Flevoland (28 percent), Drenthe (27 percent), and Utrecht (26 percent). The practice of theatre, musical theatre, and ballet was relatively most popular in that year in the provinces of North Holland (18 percent), Utrecht (16 percent), and Limburg (15 percent), while playing a musical instrument had a relatively high number of practitioners in Friesland (15 percent), Limburg (14 percent), and Groningen (14 percent).

General developments

The report *Cultural Participation in Figures* (de Hoog & Swartjes, 2026) shows that watching films, series, and documentaries (95 percent) and listening to music (94 percent) occur occasionally among almost all Dutch people. Reading (or listening to) books also remains very popular among Dutch people aged 6 and older (78 percent in 2024). In addition, we see that a newer form of cultural consumption, such as gaming (57 percent), is gaining popularity.

From the report Cultural Participation in Figures (de Hoog & Swartjes, 2026)
It appears that watching films, series, and documentaries (95 percent) and listening to music (94 percent) occur occasionally among almost all Dutch people. Reading (or listening to) books also remains very popular among Dutch people aged 6 and older (78 percent in 2024). In addition, we see that a newer form of cultural consumption, such as gaming (57 percent), is gaining popularity.

The ease with which culture is consumed is accompanied by high frequencies. Large segments of consumers do this on a daily basis: 77 percent of music listeners, 44 percent of viewers of films, series, and documentaries, 37 percent of gamers, and 27 percent of readers.

In this context, digitization is a relevant topic. The rise of streaming services for listening to music (71 percent), watching films (77 percent), and reading e-books (28 percent) makes these forms of culture increasingly accessible to a large audience. Nevertheless, traditional media remain more popular: 72 percent of Dutch people still read printed books, 85 percent listen to (online) radio, and 89 percent watch films, series, and documentaries on TV.

The popularity of watching online recordings of performing arts (such as concerts or theatrical performances) is also increasing: from 35-38 percent between 2020 and 2022 to 52 percent in 2024. However, the frequency with which this occurs is lower than for other forms of culture: 23 percent of viewers do so on a weekly basis or more often.

Differences in cultural consumption between population groups

The percentage of Dutch people who consume culture varies significantly by form. Listening to music and watching films are widespread among all segments of the population. Clearer differences can be observed with reading and gaming.

Figures from the VTO show that reading is relatively popular among women, adolescents, those with higher professional or university education, and people with higher incomes. The proportion of readers is particularly high among adolescents: 98 percent of 6-11-year-olds and 80 percent of 12-19-year-olds read at least one book annually. However, this does not mean that their reading skills are good. Reading research by KVB Boekwerk shows, however, that the older people are, the more frequently they read (KVB Boekwerk, 2024). Furthermore, the PISA study shows that the reading skills of 15-year-olds have declined sharply: one in three has insufficient reading skills. The Netherlands performs even below the OECD average and is among the worst-scoring countries in Europe (Meelissen, et al., 2023). Reading in one's free time is an important factor for improving reading performance at school; moreover, it contributes to the development of general cognitive skills (Leesmonitor, 2026). The number of people who read for pleasure also grew from 48% in 2019 to 55% in 2023 (Nagelhout et al. 2024, KVB Boekwerk 2024d). Despite concerns about reading skills, reading therefore remains an important leisure activity. 

Listening to music and watching films, series, and documentaries is fairly evenly distributed across the population (de Hoog & Swartjes, 2026). Small differences are visible only for age and educational level. In this regard, the proportion of music and film listeners among the group aged 65 and older is somewhat smaller than in other age groups, while the proportions of listeners and viewers are somewhat higher among those with higher professional and university education. Differences regarding music listening also appear based on origin: people born in a top 5 country or people born outside Europe or a top 5 country listen to less music—at least when doing so via radio, streaming services, or from their own collection—than people of Dutch origin. Despite these differences, these forms of consumption remain widely accepted.

Playing games is more popular among men (61 percent) than among women (53 percent). In particular, playing via a gaming computer or game console is more popular among men (51 percent) than among women (30 percent). Additionally, this form of cultural consumption is more popular among younger groups (94 percent of children aged 6 to 11 play games, 91 percent of young people aged 12 to 19) than among the elderly (28 percent of those over 65 play games occasionally). Playing games is also relatively popular in the median income group (62 percent). Read more about developments in the field of games on the domain page. Games.

In the publication Cultural Participation in Figures More detailed information can be found about differences between population groups among readers between 2012 and 2024 and other forms of consumption between 2020 and 2024. 

General developments

In addition to visitors, practitioners, and consumers of art and culture, there are also Dutch people who actively support the sector: for example, through donations, volunteer work, or membership in a friends association. From Cultural Participation in Figures It appears that donating money is particularly popular: 19 percent of the Dutch donated to the arts and culture sector in the form of a gift in 2024. This share showed a slight decline between 2012 and 2022: from 23 percent to 17 percent. According to the biennial study Giving in the Netherlands households donated 58 million euros to the cultural sector in 2022 (Bekkers, Koolen-Maas, & Schuyt, 2024). The amount people donate remains virtually unchanged. On the page Culture and Financial Flows we further explain private contributions to culture, including from households and legacies.

Support in the form of time is also of great importance for keeping the cultural sector running (Van der Leden, 2024). In 2024, 10 percent of Dutch people aged 12 and older were volunteers at a cultural institution or event. Despite a slight decrease in volunteering between 2014 and 2020, the share of volunteers stabilized between 2022 and 2024. In 2024, Dutch people who supported the cultural field in this way did so most often at festivals (14 percent), pop music (13 percent), and heritage and early art (12 percent).

Finally, the proportion of Dutch people who are members of a friends' association of a cultural institution is steadily declining: from 9 percent in 2012 to 5 percent in 2024. Friends' circles receive less attention within the cultural sector, and less data is available on them than on other forms of support. Friends' associations also involve donating money through an annual donation. For cultural institutions, this is therefore a way to generate extra income and engage their audience (read more on the theme page). Culture and Financial Flows).

Differences between population groups in support culture

Both volunteering and membership in a friends' association prove to be particularly popular among Dutch people of retirement age (65 years and older) and among graduates of higher professional or university education. According to a report by Significant APE, the proportion of volunteers aged 65 and older increased in 2024 compared to 2017 (Bosma et al., 2024).

Donating money is also relatively popular among older age groups (27 percent among those over 65), those with higher professional or university education (24 percent), people from non-urban areas (24 percent), and people in the highest income bracket (24 percent). Research by Geven in Nederland shows that people with a lower secondary or lower education donate higher amounts to culture on average than people who have completed a secondary or higher education (Bekkers, Koolen-Maas, & Schuyt, 2024).

In the publication Cultural Participation in Figures More detailed information can be found about differences between population groups in support for culture between 2012 and 2024.