Introduction and significance of the theme
Diversity, inclusion, and equality (DIG) are themes that are becoming increasingly urgent. International movements such as Black Lives Matter and #MeToo, reports of transgressive behavior at, among others, the public broadcaster and in the music industry, and examples of institutional discrimination at the national government, police and the Belastingdienst make it clear that structural inequality is persistent. Society is changing, but not everyone is heard or supported equally. This realization also affects the cultural sector – a sector that is precisely intended as a mirror of society and as a place where there should be room for all voices.
The cultural sector, intended as a societal mirror, also struggles with this reality. However, an inclusive sector is indispensable, as it is intended for all Dutch people. Creative innovation is the core prerequisite for fulfilling its artistic and societal role: only through diverse perspectives, backgrounds, and angles does the sector remain relevant, resilient, and capable of reaching a broad audience (Engel 2025, Zhou et al. 2024, Klarenbeek 2022). Social safety forms the basis for employee well-being and the sustainable functioning of organizations; without this environment, creative potential cannot be fully utilized. A powerful example of this polyphony is the Culture, a diasporic lifeworld that shows in music, fashion, language, and social media, among others, how collective identity and entrepreneurship grow when diverse voices come together (Meijer 2023).
However, research shows that the sector does not yet fully reflect this diversity, while polarization (NOS 2024) highlights the vulnerability of social cohesion. Inequality is often rooted in existing power dynamics; working towards inclusion therefore means that these structures must be questioned and changed. This requires awareness and the 'giving up of comfort' by those who benefit from the status quo, which makes the process complex. Due to this urgency, regular monitoring is necessary.
In the Netherlands, reliable, annually recurring sources are already available regarding representation in education, the labor market, and cultural participation (see section 4: Available figures), yet collecting DIG data remains complex. For effective policy, two types of data are indispensable: sector-wide, overarching figures to track national trends, and specific tailored data per organization, region, or subsector to diagnose local problems. Only by placing specific figures in context against the national picture can organizations realistically assess and adjust their DIG goals.
This exploration of the Culture Monitor outlines the state of affairs regarding DIG in the Netherlands: we begin with the definitions, discuss what we can measure and what limitations apply, provide available figures, examine recent policy and emerging themes, and conclude with practical tools for organizations.
What is DIG?
There are many terms for structural inequality in the cultural sector, but diversity, inclusion, and equivalence (DIG) form the central framework for representation, accessibility, and equal opportunities. Diversity refers to the visible and invisible differences between people (for example
'Diversity and inclusion' are regularly dismissed as hype, 'buzzwords', or 'vague talk'.
This is despite the fact that the subject has been on the policy agenda for decades. For instance, there is the Diversity & Inclusion Code, a practical code of conduct that gives substance to the theme for cultural institutions. The Code is financially supported by the Ministry of Education, Culture and Science (OCW), which applies adherence to the Code as a subsidy requirement. As a result, all subsidized cultural institutions nowadays incorporate diversity and inclusion into their
Although the conversation about diversity and inclusion in the cultural sector is important, it often fails to address the deeper historical causes of inequality: (Western) colonialism. This is deeply rooted in our thinking about art, knowledge, literature, and philosophy (Coppen 2021). Eurocentric perspectives and a 'superior' attitude on the part of leading institutions still determine what counts as valuable knowledge. Therefore, there is a growing call to decolonize the sector. This is not merely about shedding the colonial past, but about breaking through the colonial ideology that persists in the present (Baboeram 2022; Debeuckelaere 2019). The question of how to deal with colonial art in Dutch possession is also
Monitoring of DIG
Why and how?
The cultural and creative sector has a growing need for data on diversity, inclusion, and equity (DIG), particularly at the organizational level, to gain insight into the representation of the (local) community and audience reach. Organizations and policymakers want to know where they stand in order to adapt their DIG policies accordingly. studies we see that there is no sector-wide consensus on how to measure; a tailored approach per organization or industry is necessary to answer the specific questions. There is also a why -question: some organizations choose not to collect background data for ethical reasons. However, the answer to that 'why' question should be clear: we must measure data on representation, racism, discrimination, inequality, accessibility, and transgressive behavior, among other things, in order to make these problems visible, to substantiate them, and to be able to formulate policy (on the four
This page presents figures on the representation of gender, age, origin, household position, and income of artists and creatives (see 4. Available figures). Although valuable, these data are too general to provide organizations with concrete policy directions. Therefore, an increasing number of organizations are conducting internal, tailor-made DIG research. However, this data is often not publicly available, and there is a lack of a sector-wide, standardized approach for joint collection.
The lack of detailed, long-term, and sector-wide figures on DIG is partly due to the complexity of measurement within Dutch legislation. Two key bottlenecks are the handling of sensitive personal data (GDPR) and the difficult, often controversial, selection of categories in research (this is explained below).
Sensitivity of personal data
Personal data is protected by the General Data Protection Regulation (GDPR) and cannot simply be collected. In order to systematically and comparably enrich public data (for example, via external agencies such as Whooz of Motivaction) launched the DEN Knowledge Institute in 2021 Public Data Partnership Task Force. Until the end of 2024, this worked on a standardized, national target group segmentation system for culture (DEN zj) for the systematic collection of data and making it comparable locally or nationally. Collecting data about one's own staff is even more sensitive: employees may feel uncomfortable, disadvantaged, or pigeonholed. From Research Theater Inclusief (Van Haeren et al. 2022) already showed that some organizations refrain from asking about background for moral reasons. Nevertheless, this data is crucial, even at the micro level, to make representation, exclusion, racism, and discrimination visible and to shape sound policy (progress and adjustment). The collection of such data could potentially also be used to combat racism and discrimination (Schipper 2023).
Categorization and problem definition
Monitoring diversity is complex. In addition to the sensitivity regarding personal data, the way in which people (or human difference) are categorized in research, and the words we use in this context, also play a role (read the example of the CBS categories below under 'Inclusive language use crucial'). Furthermore, it is desirable to take intersectional dimensions into account in research. That is to say: there are various dimensions of a person's social position on which societal inequality can occur (such as gender, ethnicity, sexual orientation, age, religion, socioeconomic position). These
Measuring diversity requires categorization, which causes discomfort due to the risk of pigeonholing and discrimination. Nevertheless, measurement is often necessary to develop effective policy. Studies by Rana and De Koning (2022, 2023) show that in the Netherlands, primarily gender data is collected, while ethnoracial inequality is barely accounted for. The researchers therefore advocate for a tailored approach to measuring diversity at the organizational level and greater uniformity at the sector level, based on self-identification rather than CBS categories. They also emphasize the importance of a clear problem analysis: what needs to be measured, and why?
The importance of customization is underscored in recent research into the impact of policies regarding diversity, inclusion, and equality (Zhou et al. 2024). The more specifically the policy targets a specific group or one of the P's, the more positive and effective the outcome. Additionally, inclusive leadership is crucial for tangible policy results. There is considerable variation in how diversity is measured, and there is no consensus yet on a uniform approach. Some advocate for a central party to collect comparable data, while others emphasize the importance of organization-specific customization. In any case, it is clear that the structural monitoring of diversity, inclusion, and equality is indispensable for
Inclusive language use
Language shapes our thinking and vice versa; inclusive language use is therefore essential for equality, representation, and accessibility.
In monitoring diversity, there is a growing awareness of the sensitivity of language and the usability of categories. For example, Statistics Netherlands (CBS) replaced 'migration background' with 'origin' and dropped the 'Western/non-Western' classification (since 2022, retroactively), and now looks at the country of birth of the person and their parents. Nevertheless, colonial history is still present: CBS divides countries of origin into four levels, with 'classic migration countries' (Suriname, Indonesia, Dutch Caribbean) forming a separate category. This dichotomy between 'here' and 'there' is characterized by Willem Schinkel (2018) as a colonial thought structure. This underscores how precarious it is to choose the right language and categories: unintentionally, they can actually
Available figures
Below is a selection
Representation at training courses
The figures below come from the database of ROA Statistics (Maastricht University). ROA collects figures by means of school leaver surveys (at 1,5 years after graduation) and the population figures below for HBO are obtained via CBS, which bases its figures on information from DUO (Dienst Uitvoering Onderwijs). The courses are classified on the basis of
Women in higher professional arts and teacher training programs
Western migration background* Higher professional arts and teacher training programs
Non-Western* migration background Higher professional arts and teacher training programs
The figures show that women form a large majority in most art courses, apart from the Bachelors in Film and Television and Bachelors in Music. In teacher training courses, women even form an overwhelming majority. In both the art courses and the teacher training courses, there are more students with a Western migration background than with a non-Western migration background. These proportions can vary greatly per course; for example, in the Bachelors in Dance and Bachelors in Visual Arts & Design, more than half of the students have a Western migration background since 2019, while in the Bachelors in Film and Television and Bachelors in Cultural Heritage/Museology, this remains below ten percent.
Representation of artists in the labor market
The figures below are from Monitor artists and other workers with a creative profession from Statistics Netherlands (2025). Statistics Netherlands collects
Age of artists
Age of other workers in creative professions
Age of the total workforce
Gender of artists
Gender of other workers in creative professions
Sex of the total workforce
Artists' origins
Origin of other workers in creative professions
Origin of the total workforce
Position in the household: artists
Position in household: other workers with a creative profession
Position in household: total population
The figures show that the share of young working artists (25–35 years) is growing slowly and that this group is now the largest, although the differences with the 35–45 year olds are small. Relative to the total workforce, artists are more often active between the ages of 25 and 45; the 15–25 year olds are clearly less frequently present in the labor market.
The contrast with education data is interesting: women are in the majority in degree programs, but in the labor market, men constitute the majority among artists and other creative workers. This points to higher barriers for women entering the field. For visual arts, research confirms (Female visual artists in the Netherlands, 2024) this: women are more likely to pursue training, but do not constitute a majority among practitioners. Men and women start proportionally, but men remain in the sector more often, work more frequently as independent artists, and earn more than women, despite the already low average income of visual artists.
Artists, other workers, and the rest of the workforce alike show a male majority in the labor market. The fact that men are in the majority is striking when compared to the ROA figures presented above regarding education, where women constitute a large majority in most programs. By comparison, this underrepresentation of women is also evident in the music sector: VNPF (2023) reports that in 2022, men were overrepresented in leadership positions, programming, and technical production at music venues.
Over the past decade (2012–2023), the difference between the number of employed men and women among artists has narrowed by 16 percentage points (CBS 2025); among other creative workers and the total labor force, the proportions remained virtually unchanged. Nevertheless, the difference between the share of men and women among artists is still much larger than in the other groups. In terms of origin, the proportions between artists, other creative workers, and the total labor force are very close (only a few percentage points difference).
Figures on household position show that artists are more likely to be part of a childless couple than the average working population; this also applies, to a lesser extent, to other creative workers. Employed artists and creatives therefore have
Representation in personnel
In 2025, OCW published the monitor. Diversity of staff, self-employed, supervisors and advisors in the cultural and creative sector: what will the situation be in 2024?(Bosma et al. 2025). The study combines CBS microdata and a
The survey shows that a large and growing proportion of institutions consider diversity important and take this into account during recruitment. More and more organizations are actively incorporating diversity into their operations. Institutions report a significant increase in diversity among staff, supervisory boards, and executive boards since the previous measurement (2018).
Origin of staff at subsidized institutions in 2023
Origin of staff of non-subsidized institutions
The research shows that the cultural and creative sector is becoming increasingly diverse, but still lags slightly behind the total number of employees in the Netherlands (Bosma et al. 2025). However, the subsidized portion is more diverse in terms of migration background than the Dutch total. Both subsidized and non-subsidized institutions saw an increase in employees with a migration background between 2017 and 2023 (+3 to 4 percentage points). Subsidized institutions are significantly more diverse: in 2023, the share was 8 percentage points higher than at non-subsidized institutions (in 2017 it was 7 percentage points). This may indicate the effectiveness of the mandatory Diversity & Inclusion Code for subsidized organizations. Additionally, the staff of subsidized institutions in the G4 cities (Amsterdam, Rotterdam, The Hague, Utrecht) is considerably more diverse than outside these cities.
Origin of board members and supervisors
Origin of board members and supervisors
Supervisory boards and boards of subsidized cultural institutions include people with non-European origins
Gender of staff by sector
Gender of staff at subsidized institutions 2023
Gender of staff at non-subsidized institutions 2023
Women are overrepresented in the cultural sector (53 percent compared to 47 percent men). However, this does not imply inclusion and equality; for instance, we see that in various domains of the cultural sector, such as the film and television sector and the music sectora wage gap exists between women and men. Proportionally, even more women are employed at subsidized institutions than at non-subsidized institutions: in 2023, by a difference of 11 percentage points. Since 2017, the share of employed women at subsidized institutions has increased by 4 percentage points, while the share of women at non-subsidized institutions has remained the same during the same period.
Gender of board members and supervisors of subsidized institutions
Gender Advisory Committee Members
The proportion of women on supervisory boards or executive boards of subsidized cultural institutions has increased and, in 2023, reflects the actual gender ratio of workers in the cultural sector (53 percent women and 47 percent men). As a result, the representation of women at the executive level in 2023 has become balanced with that within the cultural sector.
Hourly wage by origin in 2023
Hourly wage by sex in 2023
Finally, CBS microdata show that employees born outside Europe have relatively less often the better paid positions, this applies to both the subsidized and non-subsidized part of the sector. Women also have relatively less often the better paid positions.
Representation of artists on stages and festivals
De Dutch Live Music Monitor 2008 – 2024 (Mulder and Swartjes 2026) provides a clear picture of the diversity on stages and at festivals based on over 400.000 performances by 50.000 artists. Regarding gender, 2024 shows that 66,5 percent of all performances consist of all-male acts, 18,4 percent of female or non-binary acts, and 15,1 percent of mixed ensembles. The inequality deepens in many performances: among artists with more than 51 performances in 16 years, 73,2 percent are male, 15,7 percent female/non-binary, and 11,1 percent mixed. Men thus dominate the most sustainable careers. A positive development is the shift since 2022: festivals now program more women than smaller venues, partly due to initiatives such as Key change, in which 11 Dutch organizations made a 50/50 gender pledge.
In 2024, a Dutch artist takes the stage at just under 60 percent of all pop performances in the Netherlands; a slight decrease compared to previous years, when this share consistently stood above 60 percent. Nevertheless, Dutch artists dominate the most booked acts: of the 100 most-performing artists, only 9 come from abroad. Even on small venues (capacity ≤400), 60 percent of the performances are Dutch. On medium-sized venues, this is reversed: there, 60 percent of the performances are by foreign artists.
European artists collectively account for approximately 85 percent of all performances in 2024 – a ratio that has remained stable for years. The share of artists from North America declined shortly after the pandemic (10,1 percent in 2022 compared to 12,3 percent in 2019), but has returned to its previous level in 2024. Artists from other continents remain marginally represented. Consequently, the sector still shows little diversity of origin.
Extensive figures and analysis regarding live music, including links to the full monitor, can be found on the domain page. Music of the Culture Monitor.
Representation in participation in culture
The Leisure Omnibus (VTO), a biennial study by CBS, the Boekman Foundation, and the Mulier Institute (commissioned by the Ministry of Education, Culture and Science and the Ministry of Health, Welfare and Sport), analyzes cultural attendance and participation among Dutch people aged 6 and older against personal characteristics.
The VTO 2024 (Hoog & Swartjes 2026) offers insight into representation through data on cultural attendance, participation, consumption, and support. A detailed interpretation and breakdown by art form (performing arts, museums, film, literature, heritage, festivals, online) can be found on the page. Culture and participationThe current page specifically presents figures on scenic performing arts and visual arts; for a complete overview, we refer to the publication of the VTO 2024 and the mentioned participation page.
Representation in visits to scenic performing arts
In 2024, 50 percent of Dutch people visited at least one scenic performing arts performance (musicals, theatre, cabaret, opera, dance); certain groups of Dutch people are structurally underrepresented in this regard.
For instance, women attended scenic performing arts more often than men (55 percent versus 45 percent). This difference has remained stable over the years and is primarily due to higher attendance by women at musicals, plays, and dance. In other forms, such as opera, the proportion of women and the proportion of men are approximately equal.
A significant difference emerges based on educational level; in 2024, 63 percent of Dutch people with a higher professional or university education attended a scenic performing arts performance, compared to 45 percent of those with a HAVO/VWO/MBO education and only 34 percent of those with a basic/VMBO/VSO education. Consequently, the gap between educational levels has not narrowed over the years.
Furthermore, the figures show that people with a migration background structurally visit scenic performing arts less frequently. Of the Dutch people with a Dutch background, 52 percent attended a performance, compared to 35 percent of people born in a top-5 migration area (Suriname, Morocco, Turkey, Indonesia, and the Caribbean Netherlands) – a difference of 17 percentage points. This pattern has remained stable for more than ten years. Previous research indicates that this gap is partly due to recognizability and representation: many people with a migration background state that they do not always recognize themselves in the programming offered by established institutions or do not feel invited by their atmosphere and appeal (Janssen and Verboord 2022, Prins 2019).
At the same time, the cultural landscape has become more diverse in recent years: new initiatives are emerging outside the established infrastructure, and institutions are increasingly focusing on multifaceted narratives and programs aimed at an ever-broader target audience (Fonds Podiumkunsten 2026). However, this broader offering does not yet resonate equally well with all groups. People with a Moroccan or Turkish background, for example, are less satisfied with the offerings than Dutch people with a Surinamese, Indo-Dutch, or Dutch background, even at the same educational level (Janssen & Verboord 2022). Young creators also indicate that they are more often asked for stories about identity or discrimination than for universal themes (Prins 2019). The stable gap in the VTO figures thus underscores that a broader offering alone is insufficient.
Representation in visits to visual arts
In 2024, 53 percent of the Dutch visited at least one location featuring visual art, such as an art or design museum, an exhibition, studio, gallery, exhibition space, or art in a public space. Differences between population groups can also be observed regarding these visits.
Thus, educational level is once again the strongest predictor of attendance: 69 percent of those with a higher professional or university education visited visual arts, compared to 43 percent of those with a HAVO/VWO/MBO education and 31 percent of those with a primary, VMBO, or VSO education.
Household income follows a similar gradient: in the highest quintile, 63 percent visited visual arts, compared to 43 percent in the lowest quintile. Notably, the second quintile scores the lowest (43 percent), suggesting that in addition to financial barriers (entrance, transport, time), other factors also play a role, such as cultural habits or familiarity with the offerings (Dool 2024).
Urbanity makes a major difference: residents of highly urban areas (such as Amsterdam, Rotterdam, The Hague, and Utrecht) visit visual art significantly more often (61 percent) than residents of less urban areas. This may be related to the concentration of museums, galleries, and presentation institutions in large cities (Museumvereniging 2025), but also to the diversity of the offerings and the visibility of art in public spaces.
Migration background presents a nuanced picture; there is no clear pattern of 'more' or 'less' participation based solely on migration status. In 2024, 52 percent of Dutch people with a Dutch background visited visual arts, whereas for people born in a top 5 migration area (Suriname, Morocco, Turkey, Indonesia, Caribbean Netherlands), this figure is 40 percent – a difference of 12 percentage points. This can be partly explained by a greater cultural distance from the established (often Western, institutional) form of visual art, as Janssen and Verboord (2022) indicate: familiarity of the offerings, language barriers, social networks, and historical ties play a role here. Interestingly, people with a European migration background actually score higher than people with a Dutch background (67 percent) in terms of visits to visual arts.
Recent sector-wide issues
The increased need for data on diversity, inclusion and equality has also resulted in more and more research being published on various topics within the theme in recent years. A number of these topics are recurring and can currently be seen as the most important issues within the theme. We will provide a brief overview of these issues, in random order.
Artistic freedom
Artistic freedom is under pressure, under the influence of polarization and populism. The Raad voor Cultuur received increasing signals of this in recent years and therefore issued the advice in January 2026. Making (without) pressure out. The Council noted that, for example, youth performing arts institutions indicated that topics such as gender, sexuality, and ethnicity increasingly encounter resistance from parents, and there was an uproar over Douwe Bob and the band Bob Vylan. The increasing geopolitical tensions, including the genocide in Gaza and Russia's attack on Ukraine, resulted in boycotts of musicians or artists being barred from venues. Moreover, this perceived pressure regularly appears to lead to self-censorship among creators and institutions. Creators, for example, question whether they still want to address subjects such as identity and sexuality (Essink et al. 2026). The cultural sector itself is already working on this subject, as evidenced by the fact that various (industry) organizations within the sector have started developing guidelines and toolkits for their members (Raad voor Cultuur 2026). Also magazine Boekman dedicated a song to the theme, Boekman 145: Artistic freedom under pressure, in which the pressure on artistic freedom is analyzed by various actors and ways are sought to protect it.
'Artistic freedom is one of the pillars of our democratic constitutional state,' writes the Raad voor Cultuur in her advice, and 'this must be actively protected and cherished'. Artistic freedom is closely linked to the DIG theme, since none of the three (diversity, inclusion, or equality) can exist in a society that is artistically unfree. The Raad voor Cultuur In its advice, it provides numerous perspectives for action for politics, the sector, and education. Nevertheless, that pillar of artistic freedom also has limits – which already existed previously – for example, in the form of racism. For those who belong to the norm, this threat to artistic freedom feels new, but for those who are marginalized, this is not the case.
Gender inequality
Research into gender inequality, distinction, or discrimination is being conducted in various sectors. For example, in recent years, research has been conducted into the position of female artists in the visual arts (Haeren et al. 2024), into gender distinction in the VSCD Theater Awards in the theatre sector (Hoilu Fradique et al. 2022), the position of women in the period 2011-2020 visualized for the film and television sector (Sanders 2022) and research was conducted into the underrepresentation and experiences of female musicians in the Netherlands (Boeijenga 2025). Quantitative data on diversity or representation from an intersectional approach are still often lacking, but when it comes to gender (and in this case only the binary sex categories of man and woman are often assumed) we see relatively more data available. For example, the CBS keeps data on the working hours per week of men and women for creative and linguist
Institutional racism
The term 'institutional racism' or 'institutional discrimination' refers to a system of 'systematic exclusion and/or discrimination of groups based on written but especially unwritten rules, traditions, behavior, and forms of interaction'. This form of exclusion can take place in various ways, within all kinds of institutions (De Correspondent 2020). Examples include discrimination in the housing market, in healthcare, or at the national government, police and the Belastingdienst.
Although more and more research is being conducted in the cultural sector into forms of
Accessibility
Cultural institutions must be accessible to everyone, regardless of abilities or limitations (Bilo 2020), but in practice, obstacles often still persist. For people with a physical disability, these are stairs, thresholds, and doors; for the visually and hearing impaired, support is often lacking, and low-stimulus environments are still rare (Leden 2021b, Haeren et al. 2022). State Secretary Uslu appointed in her Multi-year letter 2023-2025 additional investments to remove both visible and invisible barriers (Uslu 2022). Important studies include The power of deaf and hard of hearing visitors(Bakkers et al. 2025), Rijksmuseum: unlimited access (Denekamp et al. 2022), and Not accessible for a long time(Vermeij et al. 2021).
The initiative comes from the sector. Creative Access Lab, which in 2024 worked with 17 makers on 'inclusive design' of theatre performances to lower barriers. At the initiative of the Ministry of Education, Culture and Science, design agencies Greenberry and Zeewaardig developed a implementation advice for pooling knowledge on accessibility, tested during Dutch Design Week 2024 as the Accessible Culture Knowledge Point. In 2025, the Ministry of Education, Culture and Science granted a subsidy to the Diversity & Inclusion Code (lead organization LKCA, with Federatie Cultuur et al.) to further develop this advice and integrate it into existing activities. The goal is knowledge sharing, advice, and activation regarding accessibility as an integral part of DIG.
Representation
In the cultural sector, more and more institutions want to have insight into the 'degree of diversity' or representation in their organization, be it in their workforce or in the public. Research into representation is therefore usually tailor-made and carried out at organizational or industry level. See, for example, CBS's research into cultural diversity
Decolonisation
Decolonization and the dismantling of power structures that perpetuate white privilege are central themes in the cultural sector (see also '2. What is DIG?'). The Raad voor Cultuur issued the advice in 2020 Colonial collections and recognition of injustice
That acknowledgment and apologies were expressed in 2022 and 2023 by then-caretaker Prime Minister Mark Rutte and King Willem Alexander, respectively, prior to the Dutch Slavery Memorial YearThe cabinet
Broad cultural understanding
Former State Secretary Uslu wrote in her Principles for Cultural Subsidies 2025-2028 that: 'the government stands for a diverse, broad cultural offering of high quality, which is accessible to everyone' (Uslu 2023). This also included an expansion of the basic infrastructure: new developments, missing genres and associated audiences also had to be included (such as urban arts, design, pop music and festivals). Broadening our understanding of culture is crucial if we want to visualize a representation of all cultural forms and participants in them. The Raad voor Cultuur has the advice at the beginning of 2024 Access to culture: towards a new order in 2029 published on how the cultural system can be renewed from 2029 onwards in order to contribute as much as possible to a rich cultural life for everyone in the Netherlands (Raad voor Cultuur 2024b).
To the theme
Role of the cultural funds
A large part of the cultural sector depends on government subsidies and funds. The Ministry of Education, Culture and Science has made endorsing and applying the Diversity & Inclusion Code mandatory for BIS institutions that are funded by the
Organizations will then still receive their subsidy.
In April 2023, the argued Raad voor Cultuur in the Advice on application and assessment procedure BIS advice 2025-2028 for stricter checks on compliance with the Diversity & Inclusion Code for grant applications, but State Secretary Uslu did not adopt this in June 2023 (see Basic principles of cultural subsidies 2025-2028). Only failure to endorse the Fair Practice code becomes a ground for refusal to include cultural institutions in the BIS scheme (Uslu 2023).
For the new cultural system 2029, the Council proposed to merge the six National Culture Funds fund (Raad voor Cultuur 2024b), but a full reform fails to materialize. However, changes are coming: more attention for institutions outside the Randstad, an extension of the cycle from four to eight years, and a simplified application procedure (Hosman 2025).
Ready to see how Snowflake works?
Reliable national sources are now available that collect sector-wide data on representation in education, the labor market, among staff, among artists, and in cultural participation (see 'Available figures'). However, this is not enough for real improvement: organizations must also monitor the status of their own DIG goals (tailoring) and align these results with the national picture. On this page, the Cultuurmonitor bundles the most important small-scale qualitative and quantitative studies (at sector and domain level) and summarizes sector wishes to provide guidance for anyone starting or building upon DIG monitoring. Additionally, the Tools section offers concrete tools to get started yourself.
In addition to the basic data, a coherent monitoring framework is still lacking. To this end, there is a need for more insight into the responsibility and awareness for inclusion: how great is the intrinsic motivation to become truly inclusive? Existing research (e.g., Brook et al. 2021) outlines sub-aspects, but the actual willingness to make structural change remains under investigation. Subsequently, the question arises whether organizations can take the next step: if more people of color enter a naturally white-dominated organization, will they succeed in retaining them, or will they leave due to a lack of genuine inclusion and equality? Additionally, research by Been (2025) shows that uncertainty in the cultural labor market
Finally, there is the question of how the government itself, through the BIS and the National Culture Funds, implements the Diversity & Inclusion Code. Which parties are aware of the subsidy opportunities, who actually applies for subsidies, and who is ultimately funded? Is it sufficiently considered that applicants speak the 'language of the funds' and have experience writing applications? In short: how great is the accessibility and equality of opportunity for different applicants? These questions also form a central part of the report. Access to culture: towards a new order in 2029 Raad voor Cultuur (2024b), which advocates for a fairer, more regionally balanced and transparent subsidy system.
Future wishes
In the coming years, this page will remain the central anchor for the theme of diversity, inclusion, and equality (DIG) on the Cultuurmonitor. Because DIG cuts across all Cultuurmonitor themes (from professional practice to participation) and domains (from heritage to games), we also see trends and developments reflected in the relevant domain reports. At the same time, these overarching issues deserve their own landing page for bundled information.
Some topics, such as neurodiversity, intergenerational diversity, socioeconomic background, and mental health, are still missing; in future updates, we will expand the exploration and examine with the field which themes require extra attention. In the long term, we hope to make increasingly more quantitative DIG datasets accessible in the Cultuurmonitor, which could be facilitated by government incentives for collaboration between research institutions. This aligns with the Knowledge Agenda of the Boekman Foundation (Knol et al. 2023) and the initiatives launched in 2025. Community of Practice 'democratization of culture' (Boekman Foundation and Concrete Blossom), which is developing a prototype of an inclusive cultural system with The Culture as a case study.
We are further developing how we can gather knowledge in a multi-voiced manner, so that cultural data involves all 'layers' of society. To this end, we are developing a research methodology that does justice to the values, dynamics, and lived world of The Culture. We are continuously keeping this exploration up to date on this page.
Tools
The list below contains a selection of tools that offer guidance for various practical applications of diversity, inclusion, and equality within organizations and policy.
Diversity & Inclusion Code Step-by-Step Plan (Diversity & Inclusion Code, n.d.).
Working materials: practical tools and practical examples about diversity, accessibility, equity and inclusion (Samen Inclusief, n.d.).
Self-scan: festival unhindered (Coalition for Inclusion, et al., n.d.).
The incomplete style guide (WOMEN Inc. 2024).
Diversity and inclusion toolset (Weber, K. and I. Roudsarabi 2024).
Making an impact on diversity & inclusion: a springboard to sustainable change (Utrecht University, SER, Inclusion NL Foundation 2024).
Step-by-step plan: audience data in the cultural sector (DEN 2024).
Workplace scan Code D&I (Code D&I 2024).
You are also not allowed to say anything anymore: a new language for a new time (Samuel 2023).
Matrix for assessing diversity plans in the cultural sector (Rana et al. 2023).
Roadmap for accessible festivals (Coalition for Inclusion 2023).
From words to actions: a guide to an inclusive organization (Denktas et al. 2023).
Guidelines Privacy and D&I policy (Utrecht University 2022).
Map of inclusive performing arts (LKCA 2022).
Research into DIG in the Dutch cultural sector
The literature list below contains sources of research into diversity, inclusion and equality in the Dutch cultural sector, classified by 'Cultural sector-wide', 'Domain-specific' and 'Local', in chronological order.
Cultural sector-wide
Bosma, MI Demir, M. van Engel et al. (2025) Diversity of staff, self-employed, supervisors and advisors in the cultural and creative sector: what will the situation be in 2024? Amsterdam: Significant APE.
Boekman Foundation (2024) Boekman #140: Representation. Amsterdam: Boekman Foundation.
Lesman, J. (2024) Leadership in color. Leiden: Leiden University.
Leden, J. van (2024) Diversity in cultural notes. In: Boekman Extra, jrg. 2024, no. 46, 1-13.
Rijn, M. van (et al.) (2024) Nothing seen, nothing heard and nothing done. The lost responsibility. The Hague: Commission of Inquiry on Behavior and Culture of Broadcasters.
Zhou, C., Dijk, van H. and B. Doornenbal (2024) The Art of Diversity: Creating Cultural Organizations and their Personnel, Public, Program, and Partners. Journal of Cultural Management and Cultural Policy, vol. 10, issue 1.
CBS (2023) Barometer of cultural diversity. The Hague: Central Bureau of Statistics.
Meijer, E. (et al.) (2023) Ir(re)replaceable: the innovative power of the Culture. The Hague: UNESCO.
Rana, J. and A. de Koning (2023) Measuring diversity: a step towards more meaningful definition and measurement. In: Boekman Extra, jrg. 2023, no. 41, 1-31.
White, N. de (et al.) (2023) Exploration of discrimination and racism in sport and culture. Utrecht: Verwey-Jonker Institute, Mulier Institute, LKCA, Movisie.
Janssen, S. and M. Verdooi (2022) 'Culture of and for everyone?' Cultural diversity and cultural participation in the migration society, In: The migration society. Migration and diversity as a Gordian knot. Amsterdam: Boom Uitgevers.
Raad voor Cultuur (2022) Across the border: towards a shared culture.. The Hague: Raad voor Cultuur.
Tieben, B. and M. Flanders (2022) Gender Diversity Monitor 2022. Amsterdam: SEO.
Veldwiesch, N. (2022) Unlimited visibility in the Netherlands? A comparative study into the inclusion of people with disabilities within cultural policy. Groningen: Master's thesis, University of Groningen.
Leden, J. (2022) Undesirable behavior in the cultural sector, what next? In: Boekman Extra, jrg. 2022, no. 35, 1-11.
Leden, J. van (2021) Access to art and culture for people with disabilities, In: Boekman extra, jrg. 2021, no. 29. 1-14.
CBS (2021) Monitor artists and other workers with a creative profession, 2021. The Hague: Central Bureau of Statistics.
Samuel, M. (2021) Values for a new language. Utrecht: Diversity and Inclusion Code.
Vermeij, L. and W. Hamelink (2021) Not accessible for a long time: experiences of Dutch people with a physical disability as a mirror of society. The Hague: Social and Cultural Planning Office.
Bilo, N. (et al.) (2020) Accessibility of cultural institutions for people with disabilities: interim report, inventory. The Hague: Significant APE.
Vermeulen, M. (2020) Growing towards more inclusion in the cultural sector: from Theory of Change to measurement plan. Rotterdam: Impact Center Erasmus.
Jongerius, M. (et al.) (2020) Experience unlimited culture: final report. The Hague: Significant APE.
Molen, Y. van der (2020) The more the merrier: analysis of diversity and inclusion within the BIS and heritage institutions. Report of a research internship at the Ministry of Education, Culture and Science.
Ministry of Health, Welfare and Sport (2019) Unlimited participation: progress report 2019. The Hague: Ministry of Health, Welfare and Sport.
Veen, S. van der (et al.) (2019) Research into diversity in the cultural sector: research into the diversity of boards and staff of multi-year subsidized art and cultural institutions and subsidy advisors [visual representation]. The Hague: APE.
Eijck, K. van and E. Bisschop Boele (2018) From the canon and the mosquito: an inventory of insights surrounding the cultural non-visitor: note written on behalf of the Ministry of Education, Culture & Science. Rotterdam: Erasmus University Rotterdam.
Modest, W. and R. Lelijveld (2018) Words matter: an incomplete guide to word choice within the cultural sector. National Museum of World Cultures Foundation.
Veen, S. van der (et al.) (2018) Research into diversity in the cultural sector: research into the diversity of boards and staff of multi-year subsidized art and cultural institutions and subsidy advisors. The Hague: APE.
Veen, S. van der and N. Bilo (2018) Research diversity in the cultural sector: breakdowns of BIS institutions and non-BIS institutions. The Hague: APE..
Domain specific
Harjadi Herman, E. (2025) Measuring diversity among employees: case study Stedelijk Museum AmsterdamAmsterdam: Stedelijk Museum.
Bakkers, A., J. Retel Helmrich, S. Boertien et al. (2025) The power of deaf and hard of hearing visitors: toolkit for stages, festivals and artists. Utrecht: Revelland.
Boeijenga, Y. (2025) Rise up: a comparative study of the underrepresentation and experiences of female musicians in the Netherlands. Hoofddorp: Buma / Stemra.
Haeren, M. van, Sweering, H. and H. Mariën (2024) Female visual artists in the Netherlands: labour market, career development, representation. Amsterdam: Boekman Foundation.
Crone, V. et al. (2023) You can't be what you can't see: diversity and inclusivity in film and AV. Amsterdam: DSP group.
CBS (2023) Cultural diversity Rijksmuseum 2022. The Hague: Central Bureau of Statistics.
Daru, S, Kros, K. and H. Matemantiek (2023) Transgressive behavior in the music industry in pictures. Utrecht: Movisie.
Olfers, M. et al. (2023) Shadow dancing: a study into transgressive behavior in dancing. Driebergen-Rijsenburg: Verinorm.
Together Inclusive (2023) 'Together Inclusive: working together on more diverse, accessible and inclusive science museums and science centers' On: www.samen-clus.nl.
VPNF (2023) Music venues and festivals in 2022 figures. Amsterdam: VNPF.
Bruijn, Y. de, and J. Mesman (2022) Diversity and collection development at the school library. Amsterdam: Reading Foundation.
Denekamp, C. and P. Kintz (2022) Rijksmuseum: unlimited access. Amsterdam: Rijksmuseum.
CBS (2022)'Cultural diversity Rijksmuseum, 2020 and 2021'. On: www.cbs.nl, 24th of June.
Haeren, M. van and S. Roosblad (2022) Research Theatre Inclusive: final analysis. Amsterdam: Boekman Foundation.
Hoilu Fradique, D. et al. (2022) Each plays [her/their/his] role and gets [their/his/its] share: a study of the gender distinction in the VSCD Theater Awards. Amsterdam: Blueyard, VSCD.
Mulder, M. (2022) The Dutch live music monitor 2008-2019: pop concerts and festivals in the era between streaming and closure. Rotterdam: Knowledge Center Creating 010, Rotterdam University of Applied Sciences, Erasmus Research Center for Media, Communication and Culture.
WOMEN Inc. (2022) An untold story: exploratory research into gender (in)equality in the art world. Amsterdam: WOMEN Inc., ABN Amro.
Marinelli, C. and L. Herschoe (2022) Map of inclusive performing arts. Utrecht: LKCA.
Motivaction (2022) Exploration of inclusive heritage lines. The Hague: Province of South Holland.
Rammeloo, J. et al. (2022) Diversity and inclusion in the book market: an exploratory study. Amsterdam: KVB Boekwerk.
Sanders, W. (2022) Better is not yet good: the position of women in the film and television sector 2011-2022. Utrecht: Women in Focus, Utrecht University.
Sanders, W. and K. van Holt (2025) Double standards: research into the experiences of female camera operators in a male-dominated profession. Utrecht: Utrecht University.
Sanders, W. and N. Post (2025 Stepped onto heels and made small: research into the work of actresses and the opportunities for professional development. Utrecht: Utrecht University.
Sanders, W. and G. Buijing (2025) Report on the Film and Television Sector Income Questionnaire: An Exploratory Study into a Gender Gap. Utrecht: Utrecht University.
Sanders, W. and S. Becker (2025) 'Just' a Dutch woman: research into the representation of women in Dutch fiction films and series 2019-2023. Utrecht: Utrecht University.
Visser, N. et al. (2022) A Distant Reading of Gender Bias in Dutch Literary Prizes. Utrecht: Utrecht University.
Nagelhout, E. and C. Richards (2021) Report book industry measurement 57: diversity theme measurement. Amsterdam: KVB, Intomart Gfk.
Scholtens, J. (et al.) (2021) Representation of women in Dutch non-fiction television programs in 2019 and 2021: research report commissioned by the Ministry of Education, Culture and Science. Hilversum: Media Authority.
Borg, L. ter (2020) 'Dutch art museums: diversity is policy, but the director is always white'. On: www.nrc.nl, 17th of June.
Gemert, S. van and N. Feenstra (2020) What you see is you: decolonial homework for tour guide and museum. Amsterdam, Eindhoven: STUDIO i.
Wigbertson, JI, Moore, RA and S. Maas (2020) Baseline: a baseline measurement of queerness in Dutch museums. Amsterdam: STUDIO i.
Feenstra, N. (2019) Visitor trip or travel organization: the importance of relationships within the museum organization for an accessible and inclusive museum visit. Amsterdam, Eindhoven: STUDIO i, Van Abbemuseum, Stedelijk Museum Amsterdam.
Kerchman, A. and P. Salet (2019) The position of women artists in four art disciplines in the Netherlands. A report for Mama Cash by Astrid Kerchman and Pauline Salet. Amsterdam: Mama Cash.
Kolsteeg, J. (2019) 'Inclusivity is the practice: Grand Theater Groningen'. In: Boekman Extra, no. 19, 1-11.
Scholtens, J. and E. Lauf (2019) Representation of men and women in Dutch non-fiction television programs: research report commissioned by the Ministry of Education, Culture and Science. Hilversum: Media Authority.
Vermeulen, M. (et al.) (2019) Measuring inclusion in museums: a case study on cultural engagement with young people with a migrant background in Amsterdam, In: The International Journal of the Inclusive Museum, no. 12, 1-26.
Nijkamp, J. and M. Cardol (2018) Literature research including theater: examples and dilemmas. Rotterdam: Rotterdam University of Applied Sciences.
Nijkamp, J. and M. Cardol (2018) Audience research including theater at Theater Babel Rotterdam: research among visitors to the performance 'The dream café'. Rotterdam: Rotterdam University of Applied Sciences.
Nijkamp, J. (et al.) (2018) Research into inclusive theater: proceeds from the symposium of June 8, 2018, organized by Theater Babel Rotterdam and Rotterdam University of Applied Sciences, Disability Studies professorship; Diversity in Participation. Rotterdam: Rotterdam University of Applied Sciences.
ACT (et al.) (2016) Advice to promote diversity in the film and television sector; Inventory of practical proposals to promote cultural diversity in the film and television sector. Amsterdam: Dutch Directors Guild.
Locally
Berghorst, P (2023) Inclusivity and regional museums. Utrecht: LKCA.
Gauneau, L. (2023) The cultural wishes and needs of residents of Amsterdam South East. Amsterdam: Municipality of Amsterdam, VU.
Klarenbeek, S. (2022) Research report on social safety in the Rotterdam art and culture sector. Amsterdam: Vrije Universiteit Amsterdam, Zijlstra Center.
Berkers, P. (et al.) (2020) Cultural diversity in the cultural sector of The Hague. The Hague: Erasmus University Rotterdam.
Perlstein, S. (et al.) (2020) Research into views on cultural diversity among employees of Rotterdam cultural organizations. Rotterdam: Erasmus University Rotterdam.
Amsterdam Arts Council (2019) Art, cultural diversity and inclusivity in Amsterdam: the next step. Amsterdam: Amsterdam Arts Council.
Rotterdam Council for Art and Culture (2019) Reflections on inclusivity, innovation and interconnectivity: trends in the Rotterdam cultural sector. Rotterdam: Rotterdam Council for Art and Culture.
Berkers, P. (et al.) (2017) Research cultural diversity in the Rotterdam cultural sector. Rotterdam: Erasmus University Rotterdam.
Want to know more about the DIG theme?
All publications that the Boekman Foundation itself produces on this theme can be found via the online file Diversity, equity and inclusion.
More literature on the theme of Diversity, Inclusion and Equality can also be found in the Knowledge base of the Boekman Foundation.
Do you have any additions or would you like to discuss research and data on diversity, inclusion and equity with us? Then we would like to hear from you!
Sources
Numbers and figures
Bosma, MI Demir, M. van Engel et al. (2025) Diversity of staff, self-employed, supervisors and advisors in the cultural and creative sector: what will the situation be in 2024? Amsterdam: Significant APE.
CBS (2025) Monitor artists and other workers with a creative profession, 2025 edition. The Hague: CBS.
CBS, Boekman Foundation, Mulier Institute (2022) 'Culture and participation'. On: www.cultuurmonitor.nl.
Hoog, T. and B. Swartjes (2026)Cultural Participation in Figures: report on the Leisure Omnibus (VTO) 2024'. Amsterdam: Boekman Foundation.
ROA Statistics (nj) 'Key figures school leavers surveys'. Database of ROA Maastricht University. On: https://roastatistics.shinyapps.io/AIStot2028/
Sources
Adamiecka-Sitek, A. and L. Cull Ó Maoilearca (2024) 'Change - now! : power, oppression and equity in European theater and education'. Amsterdam: Amsterdam University of the Arts.
Agterberg, R. (2022) 'Success of diversity policy can only be measured through monitoring'. On: www.erasmusmagazine.nl, December 9.
Ahmed, S. (2012) On being included: racism and diversity in institutional life. Durham: Duke University Press.
Arikoglu, F., S. Scheepers and A. Koranteng Kumi (n.d.) Intersectional thinking: manual for professionals who want to apply intersectionality or intersectional thinking in their own organization. Brussels: Ella.
Baboeram, Pr. (2022) From research object to knowledge producer: decolonization within the National Archives. A constructive conversation about decolonization. Amersfoort: National Cultural Heritage Agency.
Beeckmans, J. (2019) 'Eighteen months Mores. An interim score'. On: www.theaterkrant.nl, December 11.
Leg, W. (2025) 'Entrepreneurial, precarious or leaving altogether? Work trajectories in the creative industries in the Netherlands'. In: Cultural Trends, March, 1-21.
Bell, J.M. and D. Hartmann (2007)'Diversity in everyday discourse: the cultural ambiguities and consequences of “happy talk”'. In: American Sociological Review, volume 72, issue 6.
Boekman Foundation (2024) Boekman #140: Representation. Amsterdam: Boekman Foundation.
BKB (2021) Report on intersectionality knowledge tables: exploration of how an intersectional approach can strengthen the preventive approach to racism and discrimination. Amsterdam, The Hague: BKB Campaign Bureau, Ministry of Social Affairs and Employment.
CBS (2022) Integration and coexistence 2022. The Hague: Central Bureau of Statistics.
CBS (2021) Monitor artists and other workers with a creative profession, 2021. The Hague: Central Bureau of Statistics.
CBS (2025) Monitor Artists and other workers with a creative profession, 2025 edition. The Hague: Statistics Netherlands.
CMA (2023) Ethnicity Pay Gap Report 2022 to 2023. London: Gov.uk.
Jongen, E., J. Bolhaar, R. van Elk et al. (2019) Income inequality by migration backgroundThe Hague: Central Planning Bureau.
Coppen, P. (2021) 'Decolonization is no longer just a historical term'. On: www.trouw.nl, October 9.
Crenshaw, K. (1991) 'Mapping the Margins: Intersectionality, Identity Politics, and Violence against Women of Color'. Stanford Law Review.
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The Correspondent (2020)) Institutional racism in the Netherlands: what it is, where it is, and what you can do about it. Op www.decorrespondent.nl, 10th of June.
DEN (zj) 'Audience data task force'. On: www.den.nl, nd
Denekemap, C. and P. Kintz (2022) Rijksmuseum: unlimited access. Amsterdam: Rijksmuseum.
Denktaş, S., G. de Bruin and J. van den Ring-Bax (2023) From words to actions: a guide to an inclusive organization. Meppel: Boom.
Dijkgraaf, R., Wiersma, D. and Uslu, G. (2022) OCW agenda against discrimination and racism: policy task. The Hague: Ministry of Education, Culture and Science.
Dool, AL van den (2024)The cultural infrastructure is under pressure. How do we turn the tide??'. On:www.lkca.nl, 23th of April.
Dors, A. (2022) 'A diverse workforce is not just about the number of black and white employees'. On: www.codedi.nl, 30 March.
Engel, van M. (2025)It is time for the Netherlands to take creativity from the diaspora seriously – it is full of economic potential.'. In: The Financial Daily.9-5-2025.
Engel, by M. and B. Doornenbal (2025)CodeDI Improvement Opportunities'. Amsterdam: DoDiversity.
Engelshoven, I. van (2019) Principles of Cultural Policy 2021-2024. The Hague: Ministry of Education, Culture and Science.
Essink, A., L. van der Leden and A. Nuchelmans (2026)Editorial'. In: Boekman, vol. 37, no. 145, 1.
Performing Arts Fund (2026)Annual Report 2025. On:www.fondspodiumkunsten.nl, 16 March.
Gillham, J., T. Thomas and J. Finney (2021) Ethnicity Pay Gap Report 2021. London: Strategy&, PwC.
Haeren, M. van and S. Roosblad (2022) Research Theatre Inclusive: final analysis. Amsterdam: Boekman Foundation.
Haeren, M. van, Sweering, H. and H. Mariën (2024) Female visual artists in the Netherlands: labour market, career development, representation. Amsterdam: Boekman Foundation.
Hall, S. (2005) 'The rediscovery of “ideology”; return of the repressed in media studies'. In: Culture, society and the media, 52-86.
Halouchi, S. (2023) 'The theatre is increasingly full of new audiences'. On: www.nos.nl, 8 January.
Hoog, T. and B. Swartjes (2026)Cultural Participation in Figures: report on the Leisure Omnibus (VTO) 2024'. Amsterdam: Boekman Foundation.
Hosman, H. (2025) 'The cultural subsidy system needed a major overhaul: but where is that innovation? – NRC'. On: www.nrc.nl, on February 10th.
Janssen, S. and M. Verboord (2022). 'Culture of and for everyone'? Cultural diversity and participation in the migration society'. Amsterdam: Boom.
Jongen, E., J. Bolhaar, R. van Elk et al. (2019) Income inequality by migration backgroundThe Hague: Central Planning Bureau.
Klarenbeek, S. (2022)Research report on social safety in the Rotterdam art and culture sector'. Amsterdam: VU/Rotterdam Council for Arts and Culture.
Knol, J. and C. Rasterhoff (2023) Cultural and creative sector knowledge agenda 2025-2028. Amsterdam: Boekman Foundation.
Leden, J. van der (2021a) Transgressive behavior in the cultural sector, In: Boekman Extra, jrg. 2021, no. 27, 1-14.
Leden, J. van der (2021b) Access to art and culture for people with disabilities, In: Boekman Extra, jrg. 2021, no. 29, 1-14.
Leden, J. van der (2022) Undesirable behavior in the cultural sector, what next? In: Boekman Extra, jrg. 2022, no. 35, 1-11.
Leden, J. van der (2023) Return of colonial cultural objects: not the end of a process, but a new beginning, In: Boekman Extra, jrg. 2023, no. 38.
Marinelli, C. and L. Herschoe (2022) Map of inclusive performing arts. Utrecht: LKCA.
Mondriaan Fund (2023) 'Additional awards for the first round of the commemoration year of the history of slavery announced'. On: www.mondriaanfonds.nl, 30th of June.
Mores.online (2025) 'About Mores'. On: www.mores.nl, nd
Movisie (2019) 'Intersectionality, what should we do with it?'. On: www.movisie.nl, February 25.
Movisie (2023) Discrimination in the arts and culture sector: figures and solutions. On www.movisie.nl, 11 January.
Mulder, M. and B. Swartjes (2026)The Dutch Live Music Monitor 2008-2024'. Amsterdam: Boekman Foundation.
Museum Association (2025) 'Museum figures 2024'. On: www.museumvereniging.nl, September.
Nourhussen, S. (2023) ''Diversity & inclusion'? It has become an industry'. On: www.oneworld.nl, October 3.
Noor, S. (2022) 'Working on inclusion is not always pleasant. It needs sanding!'. On: www.nieuwwij.nl, October 6.
NOS (2024) Cultural sector wants safety protocol after disruption of Lenny Kuhr concert. On www.nos.nl, 27 March.
Pak, V. (2020) 'Diversity criteria cause anger and impoverishment in the cultural sector'. On: www.ewmagazine.nl, 10 August.
Prins, J. (2019)The cultural sector is not very recognizable to young people with a migration background.'. On: www.socialevraagstukken.nl, May 9.
Puwar, N. (2004) Space invaders: Race, gender and bodies out of place. New York: Mountain.
Raad voor Cultuur (2022a) Across the border: towards a shared culture.. The Hague: Raad voor Cultuur.
Raad voor Cultuur (2022b) Work program 2022-2023. The Hague: Raad voor Cultuur.
Raad voor Cultuur (2023) Advice on application and assessment procedure BIS advice 2025-2028. The Hague: Raad voor Cultuur.
Raad voor Cultuur (2024a) Dealing with shared resources of the colonial past: advice on restoration and restitution in relation to colonial archives. The Hague: Raad voor Cultuur.
Raad voor Cultuur (2024b) Access to culture. On the way to a new order in 2029. The Hague: Raad voor Cultuur.
Raad voor Cultuur (2026) Making (without) pressure: artistic freedom as a democratic foundation. The Hague: Raad voor Cultuur.
Rana, J. and A. De Koning (2022) 'Diversity in the cultural sector: about the inconvenience and importance of measurement'. In: Boekman, jrg. 2022, no. 133, 42-45.
Rana, J. and A. de Koning (2023) Measuring diversity: a step towards more meaningful definition and measurement. In: Boekman Extra, jrg. 2023, no. 41, 1-31.
Rana, J. and A. de Koning (2023) Matrix for assessing diversity plans in the cultural sector. Attachment from: Boekman Extra, jrg. 2023, no. 41.
RCGOG (2023)'Government Commissioner: further professionalization of the Mores reporting point is necessary'. On: www.rcgog.nl, 14th of April.
Rijn, M. van (et al.) (2024) Nothing seen, nothing heard and nothing done. The lost responsibility. The Hague: Commission of Inquiry on Behavior and Culture of Broadcasters.
National Government (2022) 'Commemoration year for the history of slavery: structurally more attention and recognition for our shared past'. On: www.rijksoverheid.nl, October 14.
Samuel, M. (2023) You are also not allowed to say anything anymore: a new language for a new time. Amsterdam: New Amsterdam.
Schinkel, W. (2018) 'Against “immigrant integration”: for an end to neocolonial knowledge production'. In: Comparative migration studies, jrg. 6, no. 1, 1-17.
Schipper, M. (2023) 'Racial data maintains the distribution of power, but it can also overturn it'. In: Lillith Magazine, December 5.
Smaling, E. (2022) 'EUR is currently the only university in the Cultural Diversity Barometer'. On: www.erasmusmagazin.nl, November 17.
Swartjes, B. (2024) 'Everyone Welcome? Dealing with Representation in Festival Marketing'. In: Boekman, jrg. 36, no. 140, 34-39.
Leiden University (2019) ''Diversity is not something you can create with a magic wand''. On: www.universiteitleidingen.nl, December 2.
Uslu, G. (2022) Multi-year letter 2023-2025: the power of creativity, culture at the heart of society. The Hague: Ministry of Education, Culture and Science.
Uslu, G. (2023) Basic principles of cultural subsidies 2025-2028. The Hague: Ministry of Education, Culture and Science.
Verwey-Jonker (2023) New research into discrimination and racism in sports, culture, housing market and healthcare. Op www.verwey-jonker.nl, December 15.
Zhou, C., H. van Dijk and B. Doornenbal (2024) 'The Art of Diversity: Creating Cultural Organizations and their Personnel, Public, Program, and Partners'. In: Journal of Cultural Management and Cultural Policy, jrg. 2024, no. 10(1): 181-208.
Justification text and image
Editorial noteAn earlier version of this page was written by Maxime van Haeren. The current page was proofread by Nadine Ridder.
Video: Unseen Amsterdam / Photography: Lisa Maatjens.