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 creative works inspired by the pandemic.
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
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, archives, and museums (collectively known as GLAMs), as well as film and television productions, theatre and orchestra performances, concert tours, zoos, and music and arts festivals.
Following the rapidly evolving news of closures and cancellations across the world throughout February and March, the date for re-opening remained undetermined for most of the world for many months amid several 'false start' reopenings and further closures due to second and third-waves of infections. Equally, the long-term financial impacts upon them varied greatly, with existing disparities exacerbated, especially for institutions without an endowment fund. Survey data from March 2020 indicated that, when museums were permitted to allow public entry again, the "intent to visit" metric for cultural activities should be unchanged overall from prior to the pandemic—but with a shifted preference for the kind of activity. Data indicated there would be a decreased willingness for attendance of activities in confined spaces, large immobile groups (such as cinemas), or tactile activities; with an increase in interest for activities outdoors or with large spaces (such as zoos and botanic gardens). The most commonly cited reasons for the public to "feel safe" in returning would be: the availability of a vaccine, governments lifting travel restrictions, knowing that other people had visited, whether the activity/institution was outdoors, and the provision of hand sanitiser. By March 2021 surveys of the world's top-100 most visited art museums indicated 77% decrease in visitation numbers compared to the preceding year. Of UNESCO World Heritage Sites, up to 90% were partially or totally closed during the pandemic.
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.
The following is a list of notable closures, announcements and policies affecting the cultural sector.For comprehensive lists:
Africa
. 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.