This literature review, originally created as part of a California arts participation study, explores how people participate in the arts, who participates, where participation happens, as well as motivations and barriers to participation.
Based on the 2012 U.S. General Social Survey, this report provides a detailed examination of the motivations of arts attendees (the 54% of Americans who attended at least one exhibition or performance during the previous year) and the barriers facing “interested non-attendees” (the 13% who did not attend a visual or performing arts event during the previous year but wanted to go to at least one exhibition or live performance).
This article highlights the financial situation of performing arts presenters between 2003-04 and 2011-12 based on aggregated data from 531 presenters receiving federal funding through the Canada Arts Presentation Fund. For the 531 presenters as a group, private sector revenues accounted for a larger proportion of revenues (40%) than earned revenues (36%) and public sector funding (24%) in 2011-12.
Based on financial and statistical data reported to CADAC (Canadian Arts Data / Données sur les arts au Canada), this report outlines the finances and activities of 75 artist-run centres “that receive recurring funding from the Visual Arts Section of the Canada Council for the Arts”. In 2013, the 75 artist-run centres had total operating revenues of about $18 million, 73% of which was received from government sources (including 42% from the Canada Council), 15% from private sector fundraising, and 11% from earned revenues.
This report examines the finances and activities of 77 public art galleries “that receive recurring funding from the Visual Arts Section of the Canada Council for the Arts”, based on their financial and statistical data submitted to CADAC (Canadian Arts Data / Données sur les arts au Canada). In 2013, the 77 galleries had total operating revenues of $245 million, 45% of which was received from government sources (all such sources, not just the Canada Council), 26% from earned revenues, 20% from private sector fundraising, and 9% from other revenue sources.
This series of reports examines the revenues of musicians and composers in the United States based on an online survey (5,371 respondents), in-person interviews with more than 80 musicians, and six case studies of musicians' financial records. While the survey sample is very large, the online methodology (where individuals self-select whether to respond) may not provide a statistically representative, randomized sample of all U.S. musicians.
Prepared for a 2013 Forum on Quebec Song, this French-language opinion piece attempts to stimulate reflection on the state of Quebec song and French-language song in particular. Raising important questions, the article examines topics such as internationalization, technological change, touring, training, and funding. The article argues that “these days, much imagination is required to develop new sources of revenue” for singers, songwriters, and music groups.
Unlike some other countries, including Canada, visual artists in the United Kingdom do not have a standard fee structure for exhibiting in public galleries. The “Paying Artists” campaign, which is attempting to change that, has produced a number of research reports.A 2013 survey of 1,061 artists was conducted and summarized in a report on “Phase 1 Findings”.
Based on the 2013 National Graduates Survey and the 2011 National Household Survey, this report examines the labour force situation of arts graduates and the post-secondary education of artists in Canada.
This document provides a useful summary of recent neuroscience research on the impacts of music on mental health and well-being. The report indicates that “neuroscientists are demonstrating that there is a causal connection between music study and cognitive growth”.