In the Netherlands, there is much unrest in the cultural sector over the Dutch government’s intention to increase VAT on culture, books, and sports, raising the rate from 9% to 21% effective 1 January 2026. The VAT increase in question is indeed a problem for the cultural sector, which has experienced significant pressure in the wake of COVID-19. Yet, all in all, it is a relatively minor problem; and, in fact, the fuss being made about it serves to divert attention from a much bigger problem within the Dutch cultural sector. For what is destroying the cultural sector from within is woke ideology, which is ultimately aimed not at the reformation of the sector, but at the complete demise of all heritage institutions.
Are such assessments overblown? I am afraid not. After all, wokeism argues that Western cultural heritage is an expression of colonialism, racism, and abuse of power. In other words, that cultural heritage is a legacy of the privileged white man and his ‘evil’ historical deeds. It is therefore perfectly logical that the adherents of the woke ideology want to bring about a new world, “unburdened by what has been” (to put it in the words of Kamala Harris). But, by definition, the notion of tabula rasa is incompatible with a desire to possess a meaningful and enduring cultural heritage.
This anti-white racism has been zealously advanced by many art institutions in the Netherlands for the last decade or so: partly because many of the cultural managers themselves are steeped in the woke doctrine, and partly because this is how such organisations try to meet the inclusion and diversity demands of the funds and persons who provide grants, subsidies, and other sorts of funding. As a result, cultural organisations conclude that kowtowing to wokeism is the only way to secure the vital subsidies—and thus the continued existence—of Dutch art institutions in the future. But they fail to realise that by adhering to an ideology that is openly hostile to Western cultural heritage, those art institutions will eventually undermine their own right to exist. They refuse to see that what is presented as being ‘historically tainted’ will never be able to become fully acceptable, at least not in the eyes of the rigid ideologues of woke doctrine, who have deeply entrenched themselves in the world of Dutch cultural funds and the civil service.
The inflexible and unforgiving nature of woke ideology was recently and painfully illustrated by the slashing of music ensembles and youth institutions for classical music in the Netherlands. Although these ensembles and institutions often receive a positive assessment on a pro forma basis, they nevertheless invariably end up below what is called ‘the cutting line,’ and thus must find some way to survive without a subsidy for the foreseeable future.
A notable case in point is the baroque ensemble Holland Baroque, which is rated very favourably by both the Dutch Arts Council and the Performing Arts Fund (FPK). The FPK states confidently that “The programme choice, which includes both historical Western traditions and those of non-Western cultures, will lead to concerts with appealing perspectives.” The Arts Council agrees, praising Holland Baroque’s “own and unique sound” and “exciting programmes.” Furthermore, the Arts Council believes that Holland Baroque has “the right antenna of the spirit of the times and major developments in society.” On paper, it seems that both the Arts Council and the FPK believe that Holland Baroque is making excellent choices in everything they do. Yet, on 3 July of this year, Holland Baroque received the message that both the FPK and the Arts Council want the subsidy to Holland Baroque to be discontinued.
Holland Baroque is by no means the only ensemble to suffer. As far as the FPK is concerned, the subsidy for a total of 59(!) cultural institutions and ensembles will be withdrawn. The move seems inexplicable: Holland Baroque and the 58 other ensembles and institutions wonder in panic what on earth went wrong. After all, they have done their utmost to meet all of the diversity and inclusion requirements. Why is it now all over for them?
Some art institutions point an accusing finger at Geert Wilders and the new ‘right-wing’ government, despite the fact that the Arts Council and the FPK published their recommendations when the new government had only just been installed and before it had formulated any new arts policy. Moreover, the government of Prime Minister Schoof—so utterly distrusted within the cultural sector—has recently made extra money available for the next three years of talent development in classical music. Eppo Bruins, the minister of education, culture and science, allocated €1.9 million for the six youth organisations that went empty handed this summer, after the Cultural Participation Fund decided to no longer support them. Due to Bruins’ initiative, exemplary institutions—such as the National Youth Orchestra, the Foundation for Vocal Talent, and the Princess Christina Competition—seem to be saved for the time being.
However, the 59 affected ensembles and institutions still fail to see that the disastrous cuts that they now face are, in fact, a perfectly logical consequence of the woke doctrine espoused by most executives in the music sector itself. The saying, ‘Go woke, go broke,’ is nowhere truer than in the cultural sector. As such, what is really needed is the dewokeification of the arts sector, but nobody in the Netherlands dares to speak of such things.
Now, it may be too late: thanks to the Left, arts institutions founder on the implacable rocks of woke doctrine; and, from the Right, there is little attention for a cultural sector, which has become completely politicised. With Dutch arts caught between this political Scylla and Charybdis, nobody knows what the future will bring, but the prospects are dramatic—and tragic. Our world-class cultural heritage deserves better than to wreck on the shoals of wokeism and disinterest.
A Fatal Moment for the Dutch Cultural Sector
Photo by Rob Simmons on Unsplash
In the Netherlands, there is much unrest in the cultural sector over the Dutch government’s intention to increase VAT on culture, books, and sports, raising the rate from 9% to 21% effective 1 January 2026. The VAT increase in question is indeed a problem for the cultural sector, which has experienced significant pressure in the wake of COVID-19. Yet, all in all, it is a relatively minor problem; and, in fact, the fuss being made about it serves to divert attention from a much bigger problem within the Dutch cultural sector. For what is destroying the cultural sector from within is woke ideology, which is ultimately aimed not at the reformation of the sector, but at the complete demise of all heritage institutions.
Are such assessments overblown? I am afraid not. After all, wokeism argues that Western cultural heritage is an expression of colonialism, racism, and abuse of power. In other words, that cultural heritage is a legacy of the privileged white man and his ‘evil’ historical deeds. It is therefore perfectly logical that the adherents of the woke ideology want to bring about a new world, “unburdened by what has been” (to put it in the words of Kamala Harris). But, by definition, the notion of tabula rasa is incompatible with a desire to possess a meaningful and enduring cultural heritage.
This anti-white racism has been zealously advanced by many art institutions in the Netherlands for the last decade or so: partly because many of the cultural managers themselves are steeped in the woke doctrine, and partly because this is how such organisations try to meet the inclusion and diversity demands of the funds and persons who provide grants, subsidies, and other sorts of funding. As a result, cultural organisations conclude that kowtowing to wokeism is the only way to secure the vital subsidies—and thus the continued existence—of Dutch art institutions in the future. But they fail to realise that by adhering to an ideology that is openly hostile to Western cultural heritage, those art institutions will eventually undermine their own right to exist. They refuse to see that what is presented as being ‘historically tainted’ will never be able to become fully acceptable, at least not in the eyes of the rigid ideologues of woke doctrine, who have deeply entrenched themselves in the world of Dutch cultural funds and the civil service.
The inflexible and unforgiving nature of woke ideology was recently and painfully illustrated by the slashing of music ensembles and youth institutions for classical music in the Netherlands. Although these ensembles and institutions often receive a positive assessment on a pro forma basis, they nevertheless invariably end up below what is called ‘the cutting line,’ and thus must find some way to survive without a subsidy for the foreseeable future.
A notable case in point is the baroque ensemble Holland Baroque, which is rated very favourably by both the Dutch Arts Council and the Performing Arts Fund (FPK). The FPK states confidently that “The programme choice, which includes both historical Western traditions and those of non-Western cultures, will lead to concerts with appealing perspectives.” The Arts Council agrees, praising Holland Baroque’s “own and unique sound” and “exciting programmes.” Furthermore, the Arts Council believes that Holland Baroque has “the right antenna of the spirit of the times and major developments in society.” On paper, it seems that both the Arts Council and the FPK believe that Holland Baroque is making excellent choices in everything they do. Yet, on 3 July of this year, Holland Baroque received the message that both the FPK and the Arts Council want the subsidy to Holland Baroque to be discontinued.
Holland Baroque is by no means the only ensemble to suffer. As far as the FPK is concerned, the subsidy for a total of 59(!) cultural institutions and ensembles will be withdrawn. The move seems inexplicable: Holland Baroque and the 58 other ensembles and institutions wonder in panic what on earth went wrong. After all, they have done their utmost to meet all of the diversity and inclusion requirements. Why is it now all over for them?
Some art institutions point an accusing finger at Geert Wilders and the new ‘right-wing’ government, despite the fact that the Arts Council and the FPK published their recommendations when the new government had only just been installed and before it had formulated any new arts policy. Moreover, the government of Prime Minister Schoof—so utterly distrusted within the cultural sector—has recently made extra money available for the next three years of talent development in classical music. Eppo Bruins, the minister of education, culture and science, allocated €1.9 million for the six youth organisations that went empty handed this summer, after the Cultural Participation Fund decided to no longer support them. Due to Bruins’ initiative, exemplary institutions—such as the National Youth Orchestra, the Foundation for Vocal Talent, and the Princess Christina Competition—seem to be saved for the time being.
However, the 59 affected ensembles and institutions still fail to see that the disastrous cuts that they now face are, in fact, a perfectly logical consequence of the woke doctrine espoused by most executives in the music sector itself. The saying, ‘Go woke, go broke,’ is nowhere truer than in the cultural sector. As such, what is really needed is the dewokeification of the arts sector, but nobody in the Netherlands dares to speak of such things.
Now, it may be too late: thanks to the Left, arts institutions founder on the implacable rocks of woke doctrine; and, from the Right, there is little attention for a cultural sector, which has become completely politicised. With Dutch arts caught between this political Scylla and Charybdis, nobody knows what the future will bring, but the prospects are dramatic—and tragic. Our world-class cultural heritage deserves better than to wreck on the shoals of wokeism and disinterest.
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