Impact of the COVID-19 pandemic on the arts and cultural heritage
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The COVID-19 pandemic had a sudden and substantial impact on the arts and cultural heritage sector. The global health crisis and the uncertainty resulting from it profoundly affected organisations' operations as well as individuals—both employed and independent—across the sector. Arts and culture sector organisations attempted to uphold their (often publicly funded) mission to provide access to cultural heritage to the community; maintain the safety of their employees, collections, and the public; while reacting to the unexpected change in their business model with an unknown end.
By March 2020, most cultural institutions across the world were indefinitely closed (or at least had radically curtailed their services), and in-person exhibitions, events, and performances were cancelled or postponed. In response, there were intensive efforts to provide alternative or additional services through digital platforms, to maintain essential activities with minimal resources, and to document the events themselves through new acquisitions, including new
Many individuals across the sector temporarily or permanently lost contracts or employment with varying degrees of warning. UNESCO estimated ten million job losses in the sector. Governments and charities for artists provided greatly differing levels of financial assistance depending on the sector and the country. The public demand for in-person cultural activities was expected to return, but at an unknown time and with the assumption that different kinds of experiences would be popular.
Closures and cancellations
COVID-19 [has] shaken the cultural sector. Across the world museums have been shuttered, music silenced, theatres gone dark, tourist sites abandoned and other cultural pursuits set aside as societies cope with death and disruption.
António Guterres, Secretary-General, United Nations[1]
Through the first quarter of 2020, arts and culture sector organisations around the world progressively restricted their public activities and then closed completely due to the pandemic. Starting with China, East Asia, and then worldwide, by late March most cultural heritage organisations had closed, and arts events were postponed or cancelled, either voluntarily or by government mandate. This included galleries, libraries,
Following the rapidly evolving news of closures and cancellations across the world throughout February and March,
Upon their reopening to the public, various techniques and strategies were employed by arts and cultural venues to reduce the risk of transmission of COVID-19. These included: Reducing the allowed attendance numbers and restricting the number of simultaneous visitors (sometimes through a pre-booked timeslot); mandatory wearing of masks; the provision of hand sanitiser; one-way routes through exhibitions; perspex screens between staff and guests; installation of no-touch bathroom fixtures; and temperature-checks upon arrival.[23][24]
The following is a list of notable closures, announcements and policies affecting the cultural sector.
For comprehensive lists:
Africa
Egypt. From 23 March until 31 March 2020, all museums and archaeological sites in Egypt were closed to the public for sterilisation and disinfection. During this period a programme to raise the awareness of the sites and museums' employees on ways of prevention and protection against the virus took place.[25]
Morocco. On 15 March the National Museums Foundation announced the closure of all museums from the following day "until further notice".[26] The 2020 edition of Mawazine—the world's second-largest music festival—scheduled for mid-June, was cancelled on the same day.[27]
Americas
Argentina. All the museums, cultural activities and gatherings were cancelled in the city of Buenos Aires on 12 March.[28] National libraries continue to offer means of contact through the main educational website of the Ministry of Education.[29]
Brazil. Museums which have closed as of 14 March in Brazil include the Museum of Art of São Paulo Assis Chateaubriand, the Pinacoteca, the Itaú Cultural, the Museum of Contemporary Art of the University of São Paulo, the Institute Tomie Ohtake, the Institute Moreira Salles, and the Museum of Tomorrow in Rio de Janeiro and the Instituto Inhotim contemporary art centre in Brumadinho.[15]
Despite being permitted by state government "decree" to reopen on 1 May, many institutions in Texas chose to remain closed to the public, citing health concerns.[34]
Asia and Oceania
Australia. Beginning from the second week of March Australian institutions began announcing reduced services, and then complete closures.[36] On the 13th, organisers of the Melbourne International Comedy Festival announced that the 2020 festival had been cancelled entirely.[37] Opera Australia announced it would close on 15 March.[38] On 24 March the national closure of all cultural institutions was mandated, with subsequent restrictions on public gatherings. Consequently, many cultural events were also cancelled, including the Sydney Writers' Festival.[39] According to the Australian Bureau of Statistics by the beginning of April, "Arts and Recreation services" was the sector of the national economy with the smallest proportion of its business still in operation—at 47%.[40] Notably, the tattoo-display endurance art Tim continued, even though the gallery itself (MONA, in Tasmania) was closed to the public.[41] In August it was announced that, due to a second-wave lockdown of the city of Melbourne, the Australian premiere of the travelling digital art exhibition Van Gogh alive would be moved to the Royal Hall of Industries in Sydney.[42]
China. On 23 January 2020 all museums were closed throughout mainland China. As the first country for the virus to spread, China was also the first to close its GLAMs.[10] By mid-March Chinese institutions had slowly and cautiously begun to allow various public activities to be restored with the Shanghai Museum and the Power Station of Art (also in Shanghai) reopening to the public on 13 March. Both had restricted visitor numbers and the latter noted that, "We have also prepared a temporary quarantine area on every floor in case of any emergencies. All visitors must have their temperature taken, as well as present their ID card and registered health code, before entering."[43] Some other private galleries in China had begun to open, as had some institutions in South Korea and Japan with limited service (such as by private tour only). By the end of the month 40% of mainland China's tourism attractions had reopened yet most art venues remained closed.[44]
- Hong Kong. Following the mainland, Hong Kong closed its museums five days later.[10]
- Macau. On 2 March, many branches of the Macao Public Library reopened to the public (with certain areas such as the multimedia rooms and children's reading areas remaining closed), and with the buildings receiving twice-daily "Cleaning and Disinfection Periods".[45]
India. The Kiran Nadar Museum of Art in Delhi closed on 14 March, two days before Shripad Naik, minister for culture and tourism, ordered the closure of all "monuments and museums protected by the Archaeological Survey of India across the country, including the Taj Mahal mausoleum in Agra."[15] In early July the closure of the Taj Mahal was extended for an undefined duration as Agra was one of the worst-affected cities in the country's most populous state.[46] During the lockdown 41% of the creative sector closed, and 53% of the events and entertainment management sector experienced 90% of their business cancelled between March and July 2020.[47][48] In July 2020, the Federation of India Chambers of Commerce and Industry (FICCI), the Art X Company, and British Council India launched a study assessing the Impact of the COVID-19 pandemic on the creative economy in India – reporting every four months and including case studies of the sectors' innovative actions, and recommended measures of support.[49][50][51]
Qatar. Qatar museums run by the state closed on 12 March. A forthcoming collaborative show on Picasso's Studio's due to be held by the Fire Station and Musée Picasso has been indefinitely postponed.[57]
South Korea. On 23 February, one month after mainland China, South Korea closed all museums "until further notice".[10] Commercial galleries began to reopen in late April, with contact tracing infrastructure in place for any guests.[58]
Europe
Notwithstanding significant national and sector-specific variations in regulations, most cultural activities across the continent were closed throughout March and April. In the museum sector for example, when tentative re-opening dates did begin to be published in late April they ranged from 22 April (Germany) to 20 July (Ireland); with several countries still having no formal plans (from Latvia to Malta, and Greece to the UK); and with Sweden having remained open the entire time.[61]
Austria. All federal public museums were closed by directors in response to government precautionary measures banning large events and arrivals from Italy. The Albertina Modern museum was supposed to open on 13 March but this opening was indefinitely postponed.[57]
Belgium. All cultural activities regardless of size were banned by the government from 14 March, which involved the closure of the Jan van Eyck exhibition at the Museum of Fine Arts, Ghent.[57]
Germany. On 16 March 2020, the German chancellor Angela Merkel announced in a press conference that the government and minister-presidents had together agreed upon guidelines to limit social contacts in public spaces, noting that theatres, opera houses, concert halls, museums, exhibition spaces, cinemas, amusement parks and zoos needed to close.[67] After six weeks, in early May, cultural institutions cautiously reopened their buildings with various measures in place to reduce the likelihood of virus transmission (such as restricting the number of simultaneous visitors and mandatory face masks).[68][69] The director of the Museum Barberini noted that the one-way system implemented in the exhibition space was a positive because, "We will be able to ensure that people see it in the way we intended".[70]
Italy. As the worst-hit country in Europe during February and March, national closures were announced on 23 February with an initial physical reopening date of 1 March.[72] Museums outside the "red zone" of highly infected areas in the North were then permitted to re-open as long as visitors stayed 1 metre apart,[73] this was later rescinded and all institution were closed nationally until at least 3 April,[74] then until 18 May.[75] The closure forced the indefinite postponement of the forthcoming "mega-exhibition" of Raphael to be held at the Scuderie del Quirinale in Rome. Originally timed to coincide with the 500th anniversary of the Renaissance painter's death, it was to be the largest number of the artist's works ever displayed together.[57] On the same week in May that many cultural venues began to reopen, the 2020 editions of the Palio di Siena, held twice annually in July and August, were announced as cancelled for the first time since World War II.[76] Coinciding with the progressive removal of restrictions for travel inside Italy, cultural sites and museums cautiously reopened with new regulations by early June; the first of which was the ancient Greek archaeological site Paestum near Naples, on 18 May.[77]
- Vatican City. The Vatican Museums closed in accordance with the policies of Italy.[57]
Poland. On 11 March, a regional government "recommendation" was made that all cultural venues in the tricity area be closed for two weeks.[82] Museums, including the Auschwitz-Birkenau State Museum, and other cultural venues such as theatres and cinemas were then closed by the national government with an initial re-opening date of 25 March.[57]
Sweden. On 18 March, the Swedish network and cooperation organisation for public museums of national interest, Centralmuseernas samarbetsråd, recommended all their 13 members to close their public venues if the risk for transmission of the virus was assessed as high in their respective regions. Only two of them stayed open.[86]
The planned major exhibition at the National Gallery in London of Artemisia Gentileschi, set to open on 4 April, was postponed for an indeterminate time due not only to the gallery's closure but also the inability of artworks on loan from Italy and America being unable to fly during the global shutdown in air traffic.[91]
In literature events, the London Book Fair,[92] AyeWrite Festival in Glasgow,[93] and the Harrogate International Festivals, were also cancelled[94] while the Edinburgh International Book Festival scheduled for August, was postponed.[95] The Glasgow International 2020 arts festival was also postponed until 2021.[57]
Permanent closure
Many arts organisations, cultural institutions, publishers, and production companies, closed permanently because of the pandemic due to lost revenue. For example, by April the art dealer sector expected that one third of commercial galleries worldwide would close—rising to 60% for those with fewer than 5 employees.[96] Notable permanent closures included:
- UK-based classical music voluntary liquidation "in the wake of the COVID-19-induced collapse of worldwide music-making".[97]
- Bauer Media New Zealand announced to staff via Zoom its immediate and permanent closure on 2 April. Management cited the financial strain due to lockdowns given that "non-daily print media were not permitted to publish through the level four lockdown". The NZ government argued that the company was closing of its own accord, as it had not sought access to financial assistance available to businesses during the crisis. Bauer was the publisher of magazines including New Zealand Listener, North & South, New Zealand Woman's Weekly, and Air New Zealand's inflight magazine Kia Ora.[98]
- The first cultural institution to announce its permanent closure as a result of the pandemic was Indianapolis Contemporary, a contemporary art museum founded in 2001.[99] An announcement from its board on 3 April, stated that "We have concluded our operations are not sustainable. We are not alone as other arts institutions struggle in this crisis."[100]
- On West End, Waitress was scheduled to end on 4 July, but it closed on 16 March, as West End theatres shut down; the producers later announced the show would not re-open,[101] even though at the time of the announcement, the show would have been allowed to.[102]
- On 4 May, the administration of voluntary administration and closing, citing an "irreparable loss of income" due to government bans on events during the pandemic.[103]
- On Broadway theatres, it was announced in May that it Frozen would not reopen when Broadway theatres resume their performances.[104]
Changes
Facing at least several weeks of closure of their buildings and publicly-accessible spaces, directors of
The simultaneous closure of the cultural sector, and home-isolation of much of the public, led to a heightened desire for people to obtain access to, and take comfort from, culture—right at the moment when it was least accessible to them.
Large-scale examples of newly digital of the
With the explicit encouragement of
"Several countries have already issued orders for meticulous preservation of official records related to the pandemic. This not only underlines the gravity of the current situation, but also highlights the importance of memory institutions in providing the records or information management resources necessary for understanding, contextualizing and overcoming such crises in the future. At the same time, records of humanity's artistic and creative expressions, which form a vital part of our documentary heritage, are a source of social connectivity and resilience for communities worldwide...
...it is essential that we ensure that a complete record of the COVID-19 pandemic exists, so that we can prevent another outbreak of this nature or better manage the impact of such global events on society in the future."
–Moez Chakchouk et al.[129]
Aquaria and zoos
The impact of the pandemic has been a uniquely serious crisis for some
Due to the sudden collapse in international travel, the
A pair of
Cinema, television and radio
The production and release schedule of many
In
In the
In parallel to the suspension of entertainment content production, there was a marked increase in the use of
Due to the global cancellation of professional sports, the loss of advertising revenue and broadcast rights derived from the broadcasting of sports events is expected to threaten the financial viability of many competitions.[182]
Libraries and archives
Libraries and archives faced different situations, from maintaining a full service with some restrictions, through providing minimal services, to complete closure.
In a repurposing of technical equipment, public libraries across Lithuania with
Libraries of different sizes and purposes around the world worked to provide access to collections and services remotely. For example, the
Many archives (national, university, and local) initiated collection programmes specifically attempting to document the pandemic[201] and various training packages, resource kits, document templates, and best-practice guides were produced[202]—notably from the Society of American Archivists.[203] In the US, archivists have collected objects including Anthony Fauci's coronavirus model and the first vials used to administer vaccine. At the same time that many staff were unable to work onsite at their institutions or directly access their collections, museums and archives requested that people set aside and save "objects of importance" such as gloves. masks and other pandemic artifacts. In addition, unprecedented numbers of individuals have documented their experiences of the pandemic through social media, journals and other creative works both physically and electronically.[204]
In choosing what to document and what to ignore, curators grapple with the question of what objects or records will be historically relevant and meaningful in the future. They must also consider which items are likely to be ephemeral, and which will remain available for future collection. Processes of archiving and curation reflect the biases of those involved and will shape the questions that future researchers will be able to ask and answer.[204] In China, the Shanghai Archives began a specific collection in early April, with some of its first objects being examples of the colourful entry certificates "issued by local subdistricts of the city to permit travel".[205] In the Netherlands, the national digital heritage sector organisation Netwerk Digitaal Erfgoed launched a campaign to ensure born-digital collections related to the pandemic, notably by web archiving but also including social media, and video, were archived.[206] Many campaigns were also mounted. These included: ephemera [physical, digitised, and born-digital] collections by various libraries and archives around the world,[207][208][209] a "sound map" of recordings of empty cities,[210] an online oral history recording platform[211] as well as an oral history project of the GLAM sector itself—which regularly interviewed directors of cultural sector organisations throughout the closure period.[105]
Once physical library services began to recommence—in May for many countries—it was with a "phased approach" to progressively resume services. The industry as a whole was "warned against any rush to re-open physical buildings" and that "it is possible that stricter rules will need to be implemented subsequently, and so the possibility of returning to lock-down".
Literature and publishing
"I believe that books are essential. They make us kinder, more empathetic human beings. And they have the power to take us away—even momentarily—from feeling overwhelmed, anxious and scared."
Author, James Patterson[217]
"It is only now, physically separated from friends and colleagues, that I realise how much sustenance and inspiration I receive from their insights, their conversation and their argument. A Room of One's Own is a necessity. It is not enough."
Author, Christos Tsiolkas[218]
As a result of restrictions on gatherings of people, many
Literature on the subject of epidemics and classics such as those published by
For professional authors, many revenue streams were curtailed.
Museums
In parallel to logistical challenges of when to close (and how to safely reopen) buildings to the public,
Having been the first country to enforce quarantine upon its population, museums in China were also the first to provide new digital services (primarily for a domestic audience, but to a lesser extent also internationally). In January the National Cultural Heritage Administration (NCHA) said they would "encourage cultural heritage museums and institutions around the country to utilise existing digital resources and launch online exhibitions as appropriate, providing the public with safe and convenient online services."[251][252]
"This year, the paint has more time to dry."
Director of the Art Gallery of New South Wales announcing a delay to the Archibald Prize portraiture exhibition until after the health crisis, "when art will be needed more than ever".[253]
Many museums turned to their existing social media presences to engage their audience online. Quickly, the Twitter hashtag #MuseumFromHome became particularly popular for museums sharing their content in innovative ways.
Various institutions used the closure period to re-prioritise projects and highlight different aspects of their collections. For example: The Partition Museum of Amritsar, India undertook the "scripting, recording, editing and translation work" of new audioguides remotely;[264] the Philbrook Museum of Art in Oklahoma, US rapidly relaunched their website in late March and was described as a model example of how an institution could "Reorganise, Reuse and Rethink" its activities.[265] Temporary closures also provided institutions with the opportunity to undertake extensive conservation projects, especially on works rarely off display.[266]
Ticket sales at many museums have suffered greatly in many regions due to "state-mandated limitations and almost nonexistent tourism".[267] This has led to drastic measures to secure funding, including the deaccessioning of collections. Though selling art to cover operating costs has long been frowned upon, the Association of Art Museum Directors has relaxed its prohibitions due to the pandemic in April 2020, permitting some degree of deaccession through 2022 in order to "support the direct care of the museum's collection".[268] The Brooklyn Museum is among the first to make use of this window, putting 12 Old Masters up for auction in October 2020.[267]
Music
"It is very hard financially and if you have lost the momentum you have built up over time," ... But this is also an ideal time for artists to do what it is they are supposed to be doing: create art."
Musician and performer, Tim Minchin[269]
Many musicians delayed the releases of albums due to the pandemic (including Lady Gaga and Willie Nelson),[270] some moved up the release dates of their upcoming albums (including Dua Lipa and Sufjan Stevens),[271] some (including Nine Inch Nails and Phish) released new albums with little or no notice,[272][273] and some published videos of archival footage and of past concerts (including Pink Floyd, Radiohead, and Metallica).[274] In the middle of March, Bob Dylan released a single 17-minute new song called "Murder Most Foul", his first piece of published original material in eight years.[275] The 2020 Eurovision Song Contest, set to take place in May in the Netherlands, was cancelled—marking the first time the annual contest would not take place since its inauguration in 1956[276]—and the intended venue Rotterdam Ahoy was instead converted into a temporary COVID-19 hospital.[277]
Several special remote-participation
Individually and collectively, musicians organised online performances, dubbed "virtual concerts", both of contemporary[283] and of classical music.[284] Often these included musical sections referencing the fact of social isolation or home-quarantine, via their own social media platforms. Some were especially planned and prepared; some were impromptu.[285] For example: Brazilian guitarist Cainã Cavalcante broadcast "Quarentena Sessions" duets with other home-isolated musicians;[286] cellist YoYo Ma performed "Going Home" by Antonín Dvořák; the West Australian Symphony Orchestra renamed themselves the "West Australian Social Distancing Orchestra" and played a re-arranged version of Boléro by Maurice Ravel; and an amateur choir gathered the contributions of more than 1,000 people from 18 countries to create a video performance of "Close To You" by The Carpenters.[287] Many musicians, singers and songwriters adapted to the crisis by turning to teaching online as there was both a sudden increase in people wanting to learn instruments, and a drop in paid public performance opportunities.[288] However, due to the proliferation of free musical content—through concerts for charity fundraisers, streaming on social media, and corporate events for low fees—some artists and industry bodies warned of diminished incomes both in the short and asking artists to perform for free becomes increasingly the norm.[289]
Adapting to the pandemic and the need for music patrons to wear a mask, the conductor of the Budapest Festival Orchestra Iván Fischer invented an acoustic "music-enhancing" face-mask, which has two life-sized hands made out of transparent plastic that cup around the ears. Audience members reported that the mask improved the sound.[290]
Performing arts
Due to
Meanwhile, due to the closure of productions and the simultaneous shortage of personal protective equipment (PPE) several theatre costume departments—notably that of the Berlin State Opera—converted to creating facemasks.[304]
Individual actors, such as
Many ballet companies ran classes via Zoom to their dancers which were also broadcast.[309] Ballet dancers, including principal dancer with the American Ballet Theatre, James B. Whiteside and Isabella Boylston, as well as the artistic director and a lead principal dancer of the English National Ballet Tamara Rojo, offered live classes on social media.[310] Performing arts schools ran classes and student productions online: "'Taking training that is fundamentally embodied into an online space is difficult,'...What the students lost in a staged production, they have gained in new skills stated David Berthold, [a director of Australia's National Institute of Dramatic Art], 'They quickly worked out they were building a new toolkit for the future of storytelling.'"[291]
Live theater performances experienced a drop in season ticket holders that persisted into 2023.[311] The loss of subscribers to season tickets affected donations overall.[311]
Adaptations to venues and performances
Upon reopening, many modifications needed to be made to both the venue and the performances in order to diminish the risk of disease transmission.
For example, in dance: the first post-shutdown performance by the Stuttgart Ballet featured "a spaced-out trio" and a pas de deux performed by a pair who also live together, and an audience capacity reduced from 1,400 seats to 249. Equally the 32nd Tanec Praha [Dance Prague] a normally international festival of contemporary dance held annually in June, only featured locally resident artists.[312] In September a performance at the Teatro Real in Madrid was abandoned following protests from within the audience that they had been seated too close together.[313]
In Spain, conceptual artist Eugenio Ampudia created an audience of 2,292 potted plants - one for each seat in Barcelona's Gran Teatre del Liceu - as an audience for the UceLi String Quartet. The musicians played Giacomo Puccini's "I Crisantemi" on 23 June 2020, the day after Spain's three month lockdown ended.[314][315]
In Japan, a creative modification to a venue was made by designer
Impacts
Budgets and employment
Due to the closures, revenues for cultural organisations reliant on ticket sales were expected to cause devastating effects upon revenues, For example, during closure, the average reported weekly revenue loss in the European museum sector was 80%.
Arts and culture sector budgetary and employment reports from individual countries included:
Australia. According to government figures, "cultural and creative activity contributed to A$112 billion (6.4% of GDP) to Australia's economy in 2016–17".[321] By late March 2020, 255,000 cultural events had been cancelled with an estimated revenue loss of $A280 million, self reported through the crowdsourced website ILostMyGig.net.au.[322] Opera Australia—the nation's largest performing arts company—temporarily stood down nearly all its staff[323] amid speculation it would also need to sell major assets to avoid bankruptcy.[324] In mid-April, the Melbourne Symphony Orchestra fired all of its musicians "rather than honouring an agreement that would have kept them on the books on half pay".[325]
India. 61% of organisations established between 4–10 years have stopped during lockdown.[47]
The Artists' Union England (AUE) noted that its members, as well as most self-employed workers of the cultural sector, saw many of their projects and fees cancelled.
By the end of March, many museums were announcing the
In parallel to museum sector layoffs, staff began to unionise, even though "Social distancing orders prevent the in-person meetings required to sign the cards required to file for union elections.[347] In Seattle, employees of the Frye Art Museum organised a "socially distant picket" in protest of layoffs that they argued used the pandemic to unfairly targeted union leaders during contract negotiations.[348]
Meanwhile, on 18 March and in response to the rapid rise of online performances during the closures of performance spaces, the
Financial aid
"The trick now ... is saving the existing platforms, pathways and infrastructure, from venues to funding, that will be essential to whatever is born out of these times, so that venues ... aren't turned into flats by the end of this, because there'll be some 16-year-old who is going to do something amazing and that will be harder without these structures."
Fergus Linehan, Director Edinburgh International Festival[352]
With the extensive financial disruption across all areas of the economy, many governments announced
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Arts and culture sector financial stimulus packages from individual countries included:
Algeria. in April, Minister of Culture Malika Bendouda announced on her Facebook page that ONDA, the national copyright collective, had been placed in charge with administering a financial aid package for artists whose work had been interrupted by the pandemic.[357]
Australia. In March, a petition of over 50 arts and culture organisations (including peak bodies from the music, dance, visual arts, museums, writers' and Indigenous arts groups) requested a financial aid package "...to a value of 2% of the A$111.7 billion [cultural and creative] industry". Furthermore, it requested that the Prime Minister "...issue a public statement recognising the value of our industry to all Australians" and noting that the industry had not yet recovered from the impact of the 2019–20 Australian bushfire season.[358] Separately, Live Performance Australia had requested A$850 million for its sector, while the think tank The Australia Institute requested a package of A$750 million for the performing arts in general.[359]
Instead of the A$2.2 billion requested in the petition, in early April the
In April, the state
Burkina Faso. The national copyright collective, the Bureau Burkinabè du Droit d'Auteur (BBDA) created a "solidarity fund" for artists.[371]
Canada. The Canada Council announced it would be providing $60 million in "advance funding" to its 1,100 "core funded organizations" by 4 May, to support outstanding payments to artists and workers.[372]
Ivory Coast. On the first of April, the national copyright collective Bureau ivoirien du droit d'auteur (Burida) announced a fund to support its members who fall ill with the coronavirus. Applicants must apply, with a medical certificate proving their illness, by the 10th of that month.[375]
France. The minister for culture Franck Riester announced that employees of cultural institutions currently receiving unemployment benefits calculated over 12 months will see the confinement period withdrawn from the calculation.[376] The national copyright collectives for authors and for visual arts (respectively, the Société française des intérêts des auteurs de l'écrit [Sofia] and Société des auteurs dans les arts graphiques et plastiques [ADAGP]) announced they would not ask for grants they given for subsequently cancelled cultural festivals and events to be reimbursed, and requested that those grant recipients pay their originally contracted artists in full.[377][378]
Germany. The minister for culture Monika Grütters declared that "artists are not only indispensable, but also vital, especially now." The statement was made while announcing a €50 billion stimulus package for small business and freelancers—explicitly including the creative sectors.[379]
Italy. In late March, the national copyright collective SIAE announced three measures: a €60 million "extraordinary support fund" for its members through 2020–21, a €50 million fund to offer loans to members at zero interest, and 2,500 food packages for members in special immediate need.[380]
Morocco. In May, the government announced it had allocated MAD6 million for an independent committee to purchase local art "from the artists most affected by COVID-19 and display them in museums across the country".[381]
Sweden. The Swedish Minister of Culture Amanda Lind presented a one-billion-krona support package for sports and culture, where 500 million SEK was earmarked for culture (not including government agencies like the Royal Dramatic Theatre and the Royal Swedish Opera).[385] The national copyright collective for visual arts Bildupphovsrätt i Sverige (BUS) proposed a 25 million SEK "crisis package" of funds distributed to artists in their database whose works are already publicly displayed.[386]
In late March the United States federal government announced a $2 trillion economic stimulus package in the
By April, various philanthropic trusts announced large donations to relief funds—notably including multi-million-dollar seed-funding announcements from the
Copyright
The
In the education sector, with most teaching taking place online, resources on how libraries can legally provide students and faculty with equivalent services were compiled—with an emphasis on digitisation,
Academic librarians in the United States made public statements on the applicability and importance of the role of the fair use copyright exception for "Emergency Remote Teaching & Research".[417] Cornell University Library made the advice explicit, noting in a new official library policy recommending, "...that faculty may scan course material in amounts that may exceed customary fair use limits under normal circumstances. Fair use provides flexibility to permit faculty scan broader amounts of course material than normal during these exigent circumstances." and noted that library staff were no longer allowed to work on-site and therefore not able to scan materials on behalf of teaching staff.[418]
The National Emergency Library of the Internet Archive—which suspended waitlists for access to digitised in-copyright books citing the justification of Fair Use during the pandemic—was criticised as "piracy masquerading as public service" and copyright infringement, especially by the Association of American Publishers and Authors Guild[199] as well as drawing public critique from several noted authors.[419] The Internet Archive defended its programme by emphasising that: the collection consisted primarily of older in-copyright works without digital surrogates; it is a temporary programme; authors can choose to opt-out; and the works are chosen for the educational not commercial value.[420][421]
Online training workshops were organised for cultural heritage professionals to learn about relevant risks and
New creative works
As with any significant event, the COVID-19 pandemic inspired the creation of many cultural works across all genres. Even during the crisis, there was an expectation that many and diverse new cultural works would be created that would directly reference, or be inspired by, the pandemic and its effects.[425]
Many memes[426] (notably in the form of art-recreations[427]), songs,[428] and videos[429] were created by, and shared among, the large numbers of amateur content creators from in their homes during the isolation period itself. Several art competitions were launched with Coronavirus as the theme (including by the Indian Council for Cultural Relations,[430] Historic England,[431] and the University of York, which called for collaborations between artists and archivists).[432]
Aside from the vast amounts of scientific research was published about the coronavirus (notably about COVID-19 drug development including researching a vaccine and drug repurposing), professionally produced creative works which were created, adapted, inspired by, or published as a direct result of the pandemic, and/or feature it explicitly.
References
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- ^ "Here are the museums that have closed (so far) due to coronavirus". www.theartnewspaper.com. 14 March 2020. Archived from the original on 29 March 2020. Retrieved 26 March 2020.
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{{cite web}}
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This article incorporates text by IFLA available under the CC BY 4.0 license.
External links
- UNESCO-collated list of response to COVID-19 – Explore initiatives & stories from UNESCO networks
- Collated resources for professionals:
- archivists – What to do during COVID-19?
- librarians – COVID-19 and the Global Library Field, by the International Federation of Library Associations and Institutions (2020)
- museum professionals – Museums and COVID-19, by the Association of Art Museum Directors (2021)
- academic publishers – Vendor Love in the Time of COVID-19, by University Information Policy Officers 2020)
- zookeepers – Information and Resources for Zoos and Aquariums Archived 14 June 2020 at the Wayback Machine, by The Zoo and Aquarium All Hazards Preparedness, Response, and Recovery (ZAHP) Fusion Center (2022)
- Collated online content:
- Online museum materials – The Ultimate Guide to Virtual Museum Resources, E-Learning, and Online Collections, by the Museum Computer Network
- Theatrical performances – Cultural Digital: Streams