A Global Reference Model Survey

Compared to sectors such as construction or transport, an individual institution in the arts and cultural sector has a relatively modest environmental footprint. But as the high usage of resources, visitor mobility and climate control consume significant energy, the sheer number of institutions worldwide results in a large consumption of CO2. Additionally, their role as trusted institutions (Cuno 2004. Grotz, Rahemipour 2024.) provides them with unique leverage for promoting sustainability. 

 

Given this starting position, the results of my study, covering more than 200 major museums, theaters, opera houses, and cultural centers in 56 countries, may come as a surprise. 

 

One of the central goals was to create a sustainability model tailored to the cultural sector. We worked with ten institutions from different parts of the world to co-create the Sustainability Star. The Sustainability Star consists of three spheres: the governance sphere at the center, the social sphere in the middle, and the environmental sphere as the outer boundary. Each of these spheres is composed of a number of dimensions that align with the United Nations Sustainable Development Goals (SDGs). The Sustainability Star can also serve as a guide to structure an organization's sustainability goals and actions.

 

 

The survey was conducted as a questionnaire and sent to more than 800 leading cultural institutions worldwide, of which 206 from all continents replied. Respondents, mostly directors or members of the leadership team, assessed their institution on criteria ranging from inclusivity and staff wellbeing (social aspects) to waste and energy management, catering and carbon footprint (environmental). The underlying scoring system allowed for up to 100 points. On average, the organizations achieved only 37 points, scoring better in social sustainability than in environmental sustainability.

 

 

 

 

Overall, there is still much to be done. The sector has been slow to wake up to the challenges of the transition to sustainability. While many organizations are making commitments today, few have started to act, and even fewer are doing so systematically. 61% of organizations have indicated that they have been working on sustainability for only five years or less.

 

The reasons for this slow start are manifold. One is missing of pressure from funder or visitors - something that may change rapidly in the coming years. Another is the lack of sector-wide guidance and standards hampering taking the first steps. Another commonly named barrier is lack of time and knowledge, and also of financial resources to hire a sustainability officer or consulting firm. However, the number of funding opportunities connected to sustainability commitments in increasing, as well as expectations by audiences. Cost (reduction) is cited as a driver, but also as a barrier to sustainability engagement. Next to financial considerations, strategic relevance, employees and requirements of funding bodies are the most common drivers for sustainability. 

 

Based on the Sustainability Star, we can derive detailed information about the status quo regarding the three spheres. The results on the Governance sphere show that organizations undergo a ‘sustainability journey’, from commitment to strategy, implementation and transparency. While there are many institutions showing commitment and strategy, their activities gradually decrease as the tasks become more challenging in implementation and monitoring. Here, scores drop below the average. This suggests that cultural organizations may need tools to help them implement, monitor and communicate their actions.

 

Regarding Social Sustainability, the dimensions of Access and Diversity & Inclusion show the highest scores, yet with a maximum of 44, they remain modest. Particularly concerning are the categories of Learning & Inspiration and Urban Integration, which are the lowest, scoring only 29 points. This is especially troubling as Learning & Inspiration, encompassing education about sustainability, is a dimension that is particularly pertinent to cultural organizations.

 

Regarding Environmental Sustainability, the scores demonstrate significant variation, but are still overall modest: Biodiversity scores a mere 18 points, and Food & Beverage 25 points, whereas Energy, Waste, and Climate attain the highest scores with 39 points.

 

 

The most advanced organizations have strong governance in sustainability and are doing systematic work on the social and environmental aspects of sustainability. Many have a "green team," an internal group of people striving to advance sustainability and have made sustainability a strategic priority, which ensures management buy-in. Finally, the existence of governmental sustainability requirements also contributes to improved performance. In England, for example, institutions that receive public funding through the Arts Council are obliged to submit a report on sustainability issues. 

 

A total of fourteen Sustainability Champions were identified by the study. Organizations exhibiting high Governance scores are most likely to be Sustainability Champions. Only two organizations fall into the "Environmental Champion” category. Furthermore, there is a positive correlation between the 'social' and 'environmental' dimensions. Among the top fourteen are remarkably many Anglophone players such as the National Galleries of Scotland, which emerged as the most sustainable museum according to the study, and the Sydney Opera House. Additionally, Universcience in Paris, also ranks among the leading institutions.

 

 

Overall, the differences between the types of organizations are not particularly significant. Museums perform slightly better than theaters in terms of mobility, climate, and biodiversity. All organizations score higher on social aspects than on environmental ones, again illustrating the recency of environmental concerns. 

 

Another influential factor is the nature of an organization’s audience. Organizations that attract not only regional but also national and international visitors tend to achieve higher scores in the governance dimensions. However, these organizations often score lower in environmental and social dimensions compared to those serving primarily local or regional audiences.

 

The size, age, and funding model of an organization are also associated with variations in sustainability scores. Older organizations, those with a more diverse funding base, and those employing a greater number of full-time equivalents tend to score higher across all sustainability dimensions, as they possess more time and resources to invest in sustainability initiatives than smaller organizations. Interestingly, while younger organizations perform quite well in governance, their scores decline in the areas of environmental and social sustainability.

 

Still, all types of institutions are not fully utilizing their potential to promote ideas and actions for sustainability. This is also a matter of credibility: if museums preach a green transition without being green themselves, they risk being accused of greenwashing. Finally, museums should not deceive themselves: this is a rapidly growing sector. Large museums, in particular, have a significant carbon footprint and must act.

 

 

The identified best practices emphasize the importance of strong governance and the integration of sustainability as a strategic priority of cultural organizations. The cultural sector must first make a common public commitment to sustainability with specific goals and actions. It must then establish benchmarks and sector-specific standards to provide concrete guidelines. Finally, policymakers must also create an incentive structure and requirements that encourage action. Thus, sustainability will move from being a "nice to have" to a "must have" - especially since most cultural organizations have not felt pressure from these stakeholders. 

 

Additionally, it would help the whole sector, especially the large number of smaller institutions and those without access to dedicated expertise, to develop knowledge sharing processes among each other. 

 

Our new research-for-action project ‘Culture Goes Sustainable’ aims to create an Alliance for the Planet and develop a framework and label for sustainable action in the cultural sector, with the goal of stimulating large-scale changes. We are tackling this challenge with partners from around the world and will create a framework and label for sustainable action. We hope to advance the entire sector in this way.

 

 

 

Cuno, James, ed. 2004. Whose Muse? Art Museums and the Public Trust. Princeton University Press.

 

Grotz, Kathrin, & Rahemipour, Patricia. 2024. Das verborgene Kapital: Vertrauen in Museen in Deutschland. Wie die Menschen in Deutschland auf eine Kultureinrichtung im Wandel blicken. Eine bevölkerungsrepräsentative Studie des Instituts für Museumsforschung - Stiftung Preußischer Kulturbesitz, Berlin. Zenodo. https://doi.org/10.5281/zenodo.11517693