Berlin’s cultural funding cuts: a brutal budget fix, and a big loss for the arts

Berlin’s cultural scene is not just a local treasure but a global attraction, drawing 80 per cent of its tourists and shaping its identity as a cultural capital. But in November 2024, the Berlin Senate announced a 12 per cent cut to the city’s cultural budget, a significant blow to a sector that accounts for just 2.5 per cent of total public spending. The cuts were part of a broader effort to address Berlin’s €3 billion budget shortfall, forcing reductions across multiple sectors.

In response, Berlin Ist Kultur - a broad alliance of cultural stakeholders spanning major theatres, museums, clubs, and independent groups - mobilised large-scale demonstrations to underscore the importance of cultural funding. The campaign also gathered over 100,000 signatures in protest, a clear indication of the widespread public support for Berlin’s cultural landscape.

The impact of the budget cuts has been felt across the board, but projects that support marginalised communities and champion diverse voices - many of which include artists speaking out in solidarity with Palestine - have suffered the most severe cuts. Berlin Mondiale, which provided cultural access for young people from marginalised communities, and IMPACT, a program promoting diversity in the arts, both lost their funding entirely. The queer, postcolonial cultural centre Oyoun in Neukölln, already under threat after refusing to cancel a panel talk by the pro-Palestinian Jewish organisation Jüdische Stimme, was forced to shut down and will vacate its location in Neukölln in 2025. 

While the Berlin House of Representatives approved the austerity package in late December 2024, some cuts were partially reversed. Children’s and youth theaters saw limited funding reinstatements, and institutions like the Deutsches Theater received temporary relief. GRIPS Theater, a political stage for young audiences, initially faced a €300,000 funding loss, though some of it was later restored.

Caroline Whiteley spoke with Berlin Ist Kultur spokesperson and GRIPS Theater artistic director Philipp Harpain about how independent theaters and diversity-focused programs continue to grapple with the long-term effects of these budget cuts.

This interview took place on 11 December. The conversation was held in German, translated into English, and edited for clarity.

Caroline Whiteley: The planned cuts [of €300,000] to GRIPS were reduced. How are you feeling right now? Is it even possible to feel a sense of relief at this moment? 

Philipp Harpain: [The budget] has been reallocated, but the overall cultural budget still faces a €130 million deficit. Some organizations, like GRIPS, managed to survive by receiving €300,000. But this wasn’t new money; it was redistributed from other areas. For instance, [the government] cut €12 million from the studio program for visual artists, a program that had existed for over 30 years.

Cuts are still looming, particularly for children’s and youth theaters, small groups, and independent organisations. Berlin Mondiale, a program that was essentially about providing young people with limited access to culture and a space to engage and participate in it, has been completely stripped of its funding.  It’s challenging for cultural workers to maintain their programs at full capacity now; I can truly say that. 

Caroline Whiteley: It’s shocking that culture, which is such a societal investment, is treated this way. Government support doesn’t just foster creativity, it gives people from all backgrounds a chance to express themselves and explore new perspectives.

Philipp Harpain: Ideally, of course, no cuts should be made. In the grand scheme of things, €130 million is not a lot. For example, in the Wuhlheide Park, [the CDU and SPD] are planning a highway road construction right through the park, costing the city €351 million.

The cultural sector accounts for only about two per cent of Berlin’s budget, which doesn’t make much of a dent in the budget overall, but for the cultural scene itself, it’s a catastrophe.

Caroline Whiteley: It’s also generally quite well known that the current government in Berlin prioritizes budgeting for car-centric projects, such as the controversial A100 highway extension and the TVO road project.

I also found it interesting that Joe Chialo suggested that cultural institutions could generate more private funding or operate more commercially, specifically mentioning Berghain as an example. This, of course, oversimplifies the broader challenges faced by cultural institutions that rely on public funding. You can’t compare one of Berlin’s most successful clubs to a small youth theatre in terms of how they should operate financially. 

Philipp Harpain: Absolutely. Children are always the ones who suffer the most. During the pandemic, they were totally neglected. Now, we’ve managed to get things back on track; children enjoy engaging with the theater again, but there’s still a long way to go. Honestly, in this increasingly uncertain world, with so many questions that children and young people face, they need places for discussion, both through what they see on stage and in further conversations with us.

I had an interesting interview with a reporter from Erfurt who said, ‘If we had theatres like the ones in Berlin, right-wing parties probably wouldn’t have gotten so far [in the polls].’ I found that absolutely fascinating.

Caroline Whiteley: Because theatre, and storytelling, opens up different perspectives and lived experiences. That is very much in the spirit of democracy, right?

Philipp Harpain: We have an artistic mission, primarily because we’re creating realistic children’s and youth theater that connects with society. Naturally, we see the problems in many areas—starting within families: experiences of violence, alcohol abuse in families.

It even extends to issues like cyberbullying, as well as plays like #diewelle or Das Heimatkleid, which explicitly address right-wing populism. Similarly, we deal with topics like sexuality on stage so that children and young people can discuss them through the characters. These kinds of stories are incredibly important.

Caroline Whiteley: You’ve been at GRIPS Theater since 2002, so you’ve experienced huge changes in the city’s cultural landscape. Between 2017 and 2023, Berlin’s cultural budget increased significantly, up to  €947 million in 2023. That is more than double all of England’s arts funding. Could you talk a bit about the positive effects that had or how you experienced those changes?

Philipp Harpain: Well, we did receive increased funding, that’s true—partially for youth programs. The issue is that the funding increase also came because our costs increased across the board. 

Any additional funding we’ve received over the years has largely gone toward improving salaries—not hiring more staff, but ensuring fairer pay for the existing team. Unfortunately, in recent years, even as this adjustment happened, we’ve faced enormous financial pressures.

Electricity has become more expensive, rent has gone up, and the price of wood – essential for building sets – has more than doubled. Paper and other materials have also become significantly pricier.

These challenges weren’t addressed by the Senate in prior years, and now, this year, they’ve cut a key budget line that was meant to balance salaries and wages. That funding was eliminated before we even had a chance to discuss it. We protested early on, but then the broader debate around budget cuts began. And now, in 2024, those pressures have only increased.

Caroline Whiteley: Have you already had to implement specific measures to address this year’s budget cuts? I imagine you’ve had to rethink or restructure quite a bit.

Philipp Harpain: We reduced our advertising budget and our production budget. Ultimately, we’ve leaned even further into what [Joe] Chialo always emphasizes: securing third-party funding from other institutions. That’s something we’ve been doing for years, and it’s essential to keep things running.

Caroline Whiteley: So, we talked about how important culture is for society – offering children new perspectives and spaces for self-expression. I’m curious… Over the years, what kind of feedback have you received from participants or actors about how their involvement with GRIPS has impacted their lives, on a personal level? 

Philipp Harpain: The most striking thing is how deeply our plays resonate. Kids remember them vividly, even months later. Adults, too, often recall visiting as children, which shows how meaningful these experiences are. Beyond that, many kids and teens involved in our theater programs – whether in children’s or youth clubs – say it’s shaped them. Even those who don’t pursue acting often credit the experience with improving their confidence, communication, and presence.

We’ve also seen some incredible success stories. For instance, one former youth theatre member Ersan Mondtag recently designed the German Pavilion at the Venice Biennale. It’s amazing to think their first artistic experiences were here at GRIPS.

Caroline Whiteley: How can citizens and culture enthusiasts support you and show politicians the value of culture? Writing to their representatives, perhaps?

Philipp Harpain: We’ve had a petition with over 100,000 signatures supporting culture in Berlin, initiated by Berlin ist Kultur, a coalition of cultural institutions. Citizens can support by attending events, joining local theater associations, or donating to cultural initiatives.

Caroline Whiteley: What would you say to artists or culture lovers feeling discouraged by these cuts? Giving up isn’t an option, but solidarity among cultural institutions can be a powerful motivator.

Philipp Harpain: Exactly. The solidarity shown by Berlin’s cultural institutions through Berlin ist Kultur has been inspiring. It proves we’re stronger together, and that’s what keeps us motivated. The more people engage, the stronger our cultural community becomes.

A Unkürzbar / Berlin ist Kultur protest is happening in Berlin, next Saturday, 22 Feb.