© DMR/Kevin Fuchs
Symposium on the Future of Cultural Funding (2026)
On 23 October 2026, the German Music Council organised a public symposium entitled ‘The Future of Cultural Funding’ as part of this year’s general meeting in Berlin. The conference, which was well attended with 130 participants, focused on the current challenges and prospects for cultural funding. It became clear that, in the field of cultural funding, synergies must be developed and strengthened through a combination of support from local authorities, the federal states and the federal government, as well as from foundations, the private sector and other non-governmental funding bodies.
© Barbara Meyer-Selinger
The German Music Council calls on the federal government, the Länder and local authorities to ensure that cultural funding is sustainable and resilient to crises. In the face of growing financial and social challenges, the music sector needs reliable public funding structures, long-term planning horizons and closer coordination between the various funding bodies. At the same time, it is essential to explore new avenues for funding the arts – through a more interconnected funding framework involving the public sector, foundations, the business community and civil society. Innovative and solidarity-based funding models must be tested collaboratively, and successful approaches must be firmly established for the long term. The conference presented initial ideas on what the future of cultural funding might look like: based on shared responsibility and collaborative shaping.
DMR President
The key findings of the conference, summarised in eight points:
1. Previously held certainties are beginning to waver.
“We sense that the world no longer functions as it used to,” observed Lydia Grün. Against a backdrop of tight public budgets and social and political upheaval, cultural life is coming under increasing financial pressure. “The first things that are at risk of being lost in a crisis are the courage and confidence to shape the future,” remarked Martin Zierold.
2. Crises call for proactive action rather than resignation.
Zierold spoke of a “crisis of the predictable” and argued that challenges should be met with the right mindset and sound strategies. After all: “Times of crisis are also times for proactive action”. Kirsten Haß emphasised that one must think carefully about what to do with the remaining resources and what impact one wishes to achieve in doing so.
3. It is not the act of making music itself that is under threat, but its structures.
Current figures on amateur music-making, for example, show just how vibrant musical practice is. However, the institutions and structures that enable and promote it are coming under increasing pressure.
4. Cultural institutions must reorient themselves.
Changing social conditions call for a broader self-image and new roles. Cultural institutions should also see themselves as a ‘resource for the city’ – as places that have a social impact far beyond their artistic offerings. As an example of best practice, Zierold cited the ‘Deichman Library’, which opened in Oslo in 2020 and, through its conception as a visionary ‘third place’, epitomises modern transformation. It has contributed to a transformation of the entire library landscape in Norway, which is now held in extremely high regard by the people there.
5. New partnerships and compelling arguments are needed.
Cultural institutions must actively reach out to existing and new partners, even if this means exploring unconventional avenues. It is crucial to win over political decision-makers and other stakeholders with compelling arguments to champion a diverse musical landscape. At the same time, Stüdemann emphasised that, as a rule, the culture budget in towns and cities accounts for only around 1–3 per cent of the total budget: it must be made clear that real potential for savings lies elsewhere in the budget.
6. Cultural funding requires a coordinated, overarching strategy.
Forward-looking cultural planning brings together the various potential sponsors and funders. The basis for this is “a vision and consideration of what smart structures might look like”, said Stephanie Reuter. The aim is to jointly clarify and coordinate the respective roles – such as those of foundations – and opportunities.
7. Financial resilience is becoming increasingly important.
Where political developments call into question artistic freedom, diversity and established structures for cultural funding, there is growing pressure to broaden the base of cultural life and strengthen its financial resilience.
8. Now is the right time.
Developing new ways of promoting culture and building sustainable partnerships is a task that cannot be put off. Even in difficult circumstances, it is never too late to get started.
