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in the Arab world have rich musical traditions featuring rhythmic instruments. So among Christians
and Muslims – and possibly other religious groupings as well - there are factions who have their
reservations about letting artists fully exercise the artistic freedom granted by the democratic state, and
about letting people participate freely.
Then there is another obstacle to arts participation. In major Dutch cities, a dichotomy in education has
developed. This dichotomy is encouraged by the freedom of parents to choose their children’s schools.
Well-educated white families send their children to the ‘white’ schools; and educated black families
follow suit. The poorer black families have little choice and send their children to predominantly
‘black’ schools. The 1999 policy memo Culture and School (Ministry for Education, Culture, and
Science 1999) states that “All the students in our country, regardless of their education or background,
must be able to acquaint themselves with the special value of art and the heritage of the world around
us”. A high ideal, but the schools that are undertaking adventurous arts projects too often appear to be
the schools with middle-class white students. Schoolchildren in neighbourhoods with large numbers of
poorly educated immigrant parents are not being reached enough.
Culture as Confrontation - The Outreach Action Plan
I now come back to the trend-breaking developments in Dutch cultural policy. In September 2000,
Secretary of State Rick van der Ploeg published his policy paper for the period from 2001 to 2004
entitled: “Culture as Confrontation”. He proposed modernising the grant system so that it would
become more dynamic and encourage entrepreneurial spirit. Moreover, the arts would have to reach a
much broader segment of the population. To this end, an Outreach Action Programme was developed.
Within the framework of this Outreach Action Programme, additional resources became available for
culturally diverse programming in theatres, museums, and community centres throughout the country,
and for the Culture and School programme, which encourages young people to become involved in
cultural activities with, for example, culture vouchers being given to students so that they can attend
concerts, theatre and dance performances of their own choice. Some of the State Secretary’s opponents
who felt that art is only for art’s sake argued that the government should not interfere with art at all.
But considering the Dutch government has conducted arts policy for over fifty years, it would be very
peculiar if it stopped now! In the post-war era, Dutch government policy has sought to (a) encourage
the creation of art, (b) conserve artistic heritage, (c) distribute the arts geographically, as well as across
social class boundaries, and (d) engage children and adults in the arts. Successive ministers have had
different priorities, but these four issues have been central to many policy debates. Yet studies have
repeatedly shown that broad segments of the community fail to partake in the arts. (Oosterbaan 1990).
In recent years, creative production was the top priority. Van der Ploeg has made funding available for
programming and distribution, and audience development. I applaud the fact that new funding for
culturally diverse programming will make the arts more accessible to the young, and to people from
diverse cultural backgrounds. However, I do not believe that the free-market mentality where the
preference of audiences and young people decides what is to be seen will lead us toward the
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