In a situation where “the growth in the number of artists attempting to start new [theatre] companies [exceeds] the growth in the funding available”, this report, based on a review of relevant and recent Canadian reports, attempts to identify “key practices, approaches or models that theatre artists, groups and organizations are implementing or adapting to ensure their art-making is viable and thriving”.
Based on a random telephone survey of 1,000 Canadians commissioned by the Professional Association of Canadian Theatres (PACT) from Nanos Research in March 2014, this brief report and a summary fact sheet indicate that many Canadians believe in the importance of live theatre in Canadian communities. The survey results show that 84% of Canadians believe that live theatre plays an important or somewhat important role in “making communities across Canada vibrant places to live”.
Based on various Statistics Canada sources, this brief fact sheet examines the number of theatre companies in Canada, their revenues and expenditures, theatre’s contribution to the economy, public spending on tickets, as well as the number and earnings of theatre artists and students.
According to Statistics Canada's biennial performing arts survey, operating revenues were $1.48 billion for all performing arts groups in 2012, a 3.1% decrease from 2010. (The changes reported in this article have not been adjusted for inflation.) In 2012, not-for-profit performing arts organizations in Canada had collective operating revenues of $783 million, representing 53% of the $1.48 billion sector total and a 4.5% increase from 2010. Earned revenues accounted for 49% of operating revenues, followed by public sector grants (26%), private sector contributions (24%) and other revenues (2%). Collectively, operating expenses ($794 million) were $11 million higher than operating revenues, leaving a deficit of 4.5% of total revenues. Salaries, wages, and benefits (excluding fees paid to contract workers) accounted for 35% of not-for-profit performing arts organizations' expenses. In 2012, total attendance was 13 million at 48,500 performances, for an average of 267 attendees per performance.
This presentation examines Canadian statistics related to “Baumol’s cost disease”, which states that expenses might rise prohibitively over time in labour intensive sectors, such as the arts, “where productivity gains are limited”. An American researcher recently examined the “perilous life of symphony orchestras” in the U.S., where expenses have indeed risen faster than revenues. The presentation concludes that “Canadian orchestras keep a better balance between revenues and expenses” and are also “more responsive to economic conditions” than American orchestras.
This report examines data on 243 visual arts organizations regarding their finances and activities, as reported by the organizations in their submissions to CADAC (Canadian Arts Database / Données sur les arts au Canada).
Starting with the 2011 data year, the Department of Canadian Heritage has assumed responsibility for surveying Canada’s heritage institutions (formerly a Statistics Canada survey). In 2011, a total of 1,269 not-for-profit heritage institutions responded to the survey, representing approximately “45% of the entire heritage sector” and “the largest sample to be measured in over 12 years”.
Based on a survey of 407 French-language audiovisual artists who are members of six Quebec associations, this report examines whether “precariousness has become a normalized part of working conditions in this sector of culture”.
This series of brief web articles aims to depict “the socio-economic conditions faced by Canadian resident professional visual artists” in 2012, with specific articles on ethnicity, sex, and gallery representation. The survey found that nearly one-half of Canadian visual artists lost money on their artistic practice in 2012 (47%). The average personal income of visual artists was $29,300, the largest portions of which came from art-related employment (average of $19,200) and non-art-related employment (average of $5,700). After adjusting for inflation, the overall average income in 2012 was 6% higher than the 2007 level ($27,600).
This brief report examines the situation of the estimated 3,632 visual artists in Quebec. The report estimates that 60% of Quebec visual artists are women and only 12% are under 35 years of age (compared with 37% of the overall Quebec labour force). The average personal income (from all sources) of all Quebec visual artists is $35,400. The average is much lower for women ($27,600) than men ($40,900). Fifty-seven percent of Quebec visual artists have total individual incomes below $30,000, with a higher percentage among women (64%) and artists under 35 (66%).