Rethinking cultural participation in Europe
Our four-part series explores the ways in which the cultural sector can contribute to Europe’s post-pandemic societies through the immense creativity and imagination it has to offer. Part three focuses on cultural participation.
In earlier posts, we discussed how the cultural and creative sector (CCS) is a serious player in the economy. We also explored how cultural and artistic activity can positively contribute to health and wellbeing.
But just as important to the development of societies is the participation of the wider community in arts and culture. Cultural participation not only drives us forward, but also allows us to forge new narratives in a post-pandemic Europe.
The problem is, no one can agree on just what cultural participation is.
“Just as important to the development of societies is the participation of the wider community in arts and culture.”
Consumption does not equal participation
Historically, policymakers have had the unfortunate habit of falling back on the concept of passive consumption to measure Europeans’ involvement in culture and the arts.
What qualifies as “involvement in cultural activities” tends to be relatively narrow. The activities included in the most recent Special Eurobarometer survey, for example, focused firmly on consumption of mainstream cultural activities via traditional media (e.g. watching TV or catching a film at the cinema, reading a book, attending a concert, etc.).
The range of cultural and artistic activities practised by the average European turned out to be limited in both scope and uptake, with only dancing, photography and singing practiced by over 10% of survey respondents in the previous 12-month period. An astonishing 62% didn’t take part in any of the survey’s cultural activity options.
New technologies are facilitating active participation
A more recent picture would probably show a good deal of change, however, as that last comprehensive pan-European survey (the Special Eurobarometer) was conducted in 2013.
Since then, digital platforms like YouTube have exploded in terms of creative, user-generated content, proving that people who are cultural consumers can, and often do, jump at the chance to make and publish their own cultural and artistic works.
And not just on YouTube. The pandemic has merely accelerated the ongoing digital shift: not only are more and more cultural works being consumed digitally, we’re witnessing a corresponding boost in the digital co-creation of cultural and artistic works.
This adoption of new technologies has of course been essential in the process of democratising artistic and cultural production. Thousands are signing up daily to use co-creating platforms like Blender (animation) or Soundtrap (music).
What used to be a relatively clear line between the producers and consumers of culture has been irrevocably altered, as amateurs and enthusiasts jostle for views, clicks and subscriptions alongside professionally trained artists and performers.
As a result, traditional gatekeepers such as record labels or performing arts venues no longer control the level of creatives’ exposure to potential audiences. In this context, we recently discussed how streaming platforms are disrupting old-school music industry models. Another example is the phenomenon of viral hits, which are overtaking TV talent shows like Britain’s Got Talent in terms of popularity.
A cultural shift towards more inclusive participation
It’s clear that we’re moving from a norm where the majority passively consumes artistic and cultural works, to a new and wider concept of inclusive participation and co-creation, all greatly facilitated by new and emerging technologies.
This shift presents a great opportunity for the CCS to have a stronger impact on society as a whole, making it the best time to reach out to those 62% of Europeans who, in 2013, didn’t consider themselves as taking part in any artistic activities.
“We’re moving from a norm where the majority passively consumes artistic and cultural works, to a new and wider concept of inclusive participation and co-creation.”
Whether this large group was unaware of their creative potential, or simply excluded by established cultural players acting as gatekeepers to the system—think back to the Eurobarometer stakeholders deciding what counts as a cultural activity—it’s now clear that cultural and artistic engagement is far more accessible than it’s ever been.
Increasing cultural participation also has ripple effects that boost societies in other, more meaningful ways. In short, participating more actively in culture and the arts makes for more tolerant and open-minded citizens and society thrives as a result.
Why cultural participation matters
As renowned academic Pierluigi Sacco outlined in his keynote speech at the recent Cities Design and Innovation conference, digital participatory platforms can be drivers of the kind of behavioural change that is needed to enhance active citizenship and democracy.
In other words, when we speak of wider and more active cultural participation, we are talking about an increase in a society’s capacity to adapt and progress. With the ongoing effects of the pandemic and a looming European recession, anything that equips people to deal with difficult social circumstances can only be a good thing.
Take VR, for example, a participatory cultural activity that has become very popular during the pandemic. Curious travellers can now explore historical sites and discover culture through their VR headset, all the while cutting down on their carbon footprint (being eco-conscious), and safely sheltering at home (practicing social distancing).
The future of cultural participation
Cultural participation is already accelerating at a healthy pace, and it’s heartening to see more and more people feel included in the cultural and artistic sphere. Not only is cultural participation beneficial to individuals, it helps society as a whole become more cohesive and engaged.
To that end, we urge decision-makers to support the CCS as it takes the lead in ushering in a much needed change in behaviour, where the creativity of all members of society is acknowledged and included.
As for our own sector, cultural organisations should be open to a wider definition of participation, embracing it as an opportunity to connect with a larger audience of potential co-creators.
Only then will we see the emergence of truly creative societies ready to collectively reimagine our post-COVID future and tackle the wider societal challenges that remain ahead.
Arne van Vliet is the Creative Director of TrueMotion. He’s passionate about the creative arts and specialises in finding funding for innovative creative projects that are reshaping the arts landscape in Europe.