{"id":96866,"date":"2025-03-26T16:50:57","date_gmt":"2025-03-26T15:50:57","guid":{"rendered":"https:\/\/cultureelpersbureau.nl\/?p=96866"},"modified":"2025-03-27T13:03:22","modified_gmt":"2025-03-27T12:03:22","slug":"meer-podiumkunst-naar-de-regio-dan-mogelijk-minder-podiumkunst-in-de-regio","status":"publish","type":"post","link":"https:\/\/cultureelpersbureau.nl\/en\/2025\/03\/meer-podiumkunst-naar-de-regio-dan-mogelijk-minder-podiumkunst-in-de-regio\/","title":{"rendered":"More performing arts to the region? Then possibly less performing arts to the region."},"content":{"rendered":"

There has been quite a fuss about subsidies in recent months, especially for the performing arts. A few beloved middle groups with a fine track record were no longer getting subsidies, in favour of newcomers. The reasons for the shift were many. The anger over it was mainly about the emphasis on Diversity and Inclusion and regional distribution in the assessment by Fonds Podiumkunsten ... <\/p>\n\n\n\n

Because Diversity and Inclusion played a relatively minor role in the assessment, and quality of plans was considered much more important, it is interesting to take a look at the distribution. Indeed, there is a chance that the subsidisers' aim to spread more offerings across regions may lead to a substantially smaller overall offering in precisely those regions. Indeed, in the assessment, relatively many groups with a good network and solid reputation have dropped out. They have made way for relatively unknown groups and creators, who are therefore also less widely known. <\/p>\n\n\n\n

Relative difference<\/h2>\n\n\n\n

So then a group that plays 70 performances, of which, say, 35 are outside its own region, may have given way to a group that plays 20 performances, of which 15 are outside its place of employment. Then the number of performances 'in the region' decreases by 20. In percentage terms, the region gains, but in absolute numbers it loses out considerably. <\/p>\n\n\n\n

We put it in a little chart: <\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

In this overview, we have contrasted two fictional companies, which are thus vastly different from each other in absolute terms, but score differently in relative terms. One group plays a lot but relatively little outside its place of employment, the other little but relatively much in other regions. The median we have put in the table is the 'saw line' within this distribution, which the Performing Arts Fund uses.<\/p>\n\n\n\n

Points counting<\/h2>\n\n\n\n

In a response, the Performing Arts Fund described the principle as follows: \"In determining an applicant's contribution to geographical distribution of performances, the Fund has considered the degree of proportionate distribution of an applicant's performances by category across the country, including in relation to other applicants. This means that the more evenly distributed the spread is across the country, the higher the organisation is rated on this component (by 1 or 2 points). To do this, the Fund used the following system. Within a category, the percentage of all applicants has been determined what proportion of their performances will take place in a certain region or city. Per city and region, the percentages of the various applicants have been put in order from small to large. The middle percentage (the median) was used as the starting point when assessing the distribution of individual applicants.\"<\/em> <\/p>\n\n\n\n

Now that it seems that mainly established groups with many playing engagements in their hometowns and the Randstad, and thus relatively fewer outside, have dropped out, there may be a considerable impoverishment of supply outside the Randstad. <\/p>\n\n\n\n

Unintended<\/h2>\n\n\n\n

This is a largely unintended side effect of the change in direction the Performing Arts Fund initiated after the 1990s. In it, the emphasis was much more on the number of performances, regardless of the number of productions, which led many makers to create many productions in order to still be able to sell many performances, while per production sales had plummeted. Much of the impoverishment of supply therefore has to do with the decreased quality in the decade, in the face of an increasing supply of productions. (All power to the city! Culture Council's opinion dissected into 9 opportunities and 10 threats - Culture Press<\/a>.)<\/p>\n\n\n\n

So now that that undesirable situation has been reversed, a new challenge is presenting itself: empty schedules at venues that until recently had a lively range of performances by different, often fairly well-known groups. This is a side effect of the emphasis on quality, fair practice and distribution that the sector itself has called for. <\/p>\n\n\n\n

It once again makes it clear that the system by which the Netherlands maintains its art production and purchase is in need of a major overhaul. <\/p>\n\n\n\n

Also read the sequel:<\/h2>\n\n\n\n
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Spread is only half the story about the region. There is also embedding.<\/a><\/blockquote>