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Cultural participation is about individuals having a sense of identity based on a shared set of
beliefs, values and practices, which they can express without feeling discriminated against
and which they can pass on as cultural capital to future generations. The New Zealand
Immigration Service states that “New Zealand becomes an increasingly socially cohesive
society with a climate of collaboration because all groups have a sense of belonging,
participation, inclusion, recognition and legitimacy” (Statistics New Zealand, 2009). Specific
arts policies and programmes have had positive social impacts, such as the reduction of
social exclusion, community development, improvements in individual self-esteem,
educational attainment, health status, regional development, the capacity building and/or
empowerment of specific social groups (e.g. ethnic minorities, population of outer urban
areas) (Australian Expert Group in Industry Studies, 2004). Participation and its positive
impacts on the social capital of individuals are also key elements in achieving urban renewal,
intended as an approach involving people in identifying and solving the problems that affect
their own communities and to improve their quality of life (Keaney and Delaney, 2006).
Surveys can capture some sense of social cohesion by studying the percentage of the local
population that take part in cultural activities, especially traditional practices and intangible
heritage that reflect local identities. Surveys can also consider social capital (Putnam, 2000)
by asking about the number of ‘clubs’ for which a respondent holds membership and the
number of meetings attended. Please refer to Map 6 for examples of questions pertaining to
social cohesion.
2.2.7 Reasons for and barriers to participation
Participation surveys sometimes ask why individuals choose to participate in cultural life or
about their decision processes (see Maps 7 and 8). What was it that led the individual to
participate, and who or what were the key influences on the decision? This type of probing
informs our understanding of the reasons, motivations and aspirations behind conscious acts
of participation, the values given to cultural consumption, the satisfaction it generates, and
the individual and social meanings attributed to cultural practices (Evrard, 2002).
Exploring the reasons for participating can extend to exploring the correlation between
different modes of participation. For example, the adults actively engaged in any kind of arts
activities, from do-it-yourself to singing in a choir, are more likely to attend cultural events
and venues (NEA, 2011). A strong and positive correlation exists between the level of
attendance at cultural events in adult life and the level of education and familiarity with the
arts developed at a young age thanks to one’s own family and education (Holden, 2006).
This implies the need for surveys to place particular emphasis on family participation in
cultural activities. Such surveys could lead to more indepth research at the level of schools.
Besides motivation, it is important to explore the barriers to participation, i.e. obstacles
preventing people from participating in cultural life that can include physical, economic, social
and psychological barriers (see Map 9). Physical barriers can hinder or prevent the
participation of different groups in the population, including people with physical or mental
disabilities as well as elderly people, for whom it can be hard or impossible to reach a place
independently or to use standard facilities (seats, toilets, etc.). Having to depend on
somebody else can even be a psychological barrier to participation on its own (and can also
concern, for example, single mothers with dependent children). Economic barriers relate to
the global price of a cultural experience, which includes access cost (entrance fee, ticket),
additional expenditure on transport (public or private), parking, eating out, babysitting, etc.
that can easily make it prohibitive for people on low incomes, as well as for families. Social
barriers may hinder the participation of specific groups of the population, which also
encompasses lack of awareness of cultural events. Opening hours or performance times
might not fit with people’s lifestyles or family activities. However, opening hours, or culture as
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