WHAT ARE THE BARRIERS TO OPEN CULTURE? A Report by

Plan for the future of your open GLAM program at launch and be prepared to devote regular resources, time and people, to its continual health and sustainability.” 4 FEAR OF LOSS OF INCOME AND OF FREE-RIDING FINANCIAL SUSTAINABILITY Budget cuts, resource reallocation and the general low level of funding for the cultural sector all contribute to many GLAMsʼ dire financial situation. [...] Open GLAM programs increase engagement and can enable new types of revenue generation through collaboration partnerships and new product development that support the ongoing existence and service of the institution to its stakeholders.” Alwaleed Alkhaja: “One of the issues that we have with opening up GLAM is the balancing of commercial interests with public needs. [...] As illustrated in the paper The Problem of the Yellow Milkmaid, there are fears around what others will do with the collections: will works be misused or used in the wrong context? GLAMs sometimes consider themselves as temples and are reluctant to share because they fear their authority would be diminished.8 They want to be credited as the host institution and associated with every use of the wor. [...] That is a barrier to the value that cultural heritage collections can have for their respective communities and societies.” Merete Sanderhoff: “The fear of loss of control is maybe a kind of habit that is also standing in the way of just embracing that people out there are ready and willing to do all kinds of wonderful thingswith their heritage if we trust them and allow them to. [...] There are many juxtapositions: the under-resourced versus the well-resourced, the canonical versus the common, etc.” Buhle Mbambo-Thata: “There is a digital divide: infrastructurally, [around] skills and between the north and the south, and even within the south, between rural and urban, sociopolitically, betweenmale and female.