Arts Research Monitor articles, category = Arts discipline information

Volume 7, Issue 2, November 2010

Based on in-depth interviews with marketing managers from four Australian performing arts organizations, this article proposes four key indicators of the quality of audience experience in the performing arts: knowledge transfer or learning, risk management, authenticity, and collective engagement.

(Dix ans de statistiques sur la fréquentation des arts de la scène, Optique culture no 34, September 2014)

This report examines performing arts attendance in Quebec over a ten-year period (2004-2013), including performances of theatre, dance, music, comedy, circus, and magic. In 2013, the most recent year of the study, there were 17,100 performances with an admission fee in Quebec, attracting 6.7 million spectators and generating $229 million in box office revenues. Over the long term, performing arts attendance in Quebec has not grown.

This Statistics Canada report examines the direct economic impact of the arts, culture, and heritage in Canada, using methodology that is comparable to other sectors of the economy. Statistics Canada estimates that the direct economic impact of cultural goods and services was $47.8 billion in 2010, or 3.1% of Canada's Gross Domestic Product (GDP). In 2010, there were 647,300 jobs directly related to cultural products, or 3.7% of total employment. The direct economic impact of culture ($47.8 billion) is about 10 times larger than the sports estimate ($4.5 billion).

Based on five case studies of Canadian and American documentary films, this report argued that documentaries, “coupled with a well-executed social impact strategy, can have substantial impact on social change”. However, the report also acknowledged that “social change involves good luck, good timing, traction of ideas in the broader culture and more than a little magic and zeitgeist.”

The report notes that, other than a few differences, diverse Canadians attended at similar rates to other Canadians. Based on these findings, the report concludes that “the range of arts offerings in Canada – from art galleries, classical concerts, and theatre performances to pop concerts and cultural festivals – manages to attract most Canadians to at least one type of activity."

The National Endowment for the Arts' 2012 Survey of Public Participation in the Arts collected data about the arts activities of more than 37,000 Americans 18 years of age and older. The report provides key arts participation figures.

How interested are Canadians in reading Canadian content?

Based on a survey of 1,005 English-speaking Canadians 18 years of age or older who had bought a book during the month prior to the survey (which was conducted between July and September of 2012), this report finds that only 24% knew that they had read a book by a Canadian author in the past year. In total, 43% of English-speaking Canadian book buyers were unsure whether they had read a book by a Canadian author, while 34% indicated that they knew that they had not done so during the past year.

This report from Music Canada, a non-profit trade organization that promotes the interests of its members and their artist partners, provides strategies for supporting the growth of Canada’s commercial music industry, which the report calls “a highly creative and dynamic field that has undergone massive changes with the shift to digital technologies and platforms”.

Based on interviews with 14 technology professionals as well as a literature review of evidence related to music and skills development, this report (supported by Music Canada) contends that rich music environments help attract high-technology jobs to local areas. According to the study, music helps develop many skills that are critical for high-tech workers.

Based largely on a 2011 survey of 502 music company representatives and 1,094 artists in Canada’s independent music industry, this report attempts to “determine the breadth and scope of the Canadian-owned, independent music industry as a whole and to measure its importance to both national and provincial economies”. The survey results show that total revenues of independent music companies were $292 million in 2011. More than one-half of independent music companies (60%) have less than $50,000 in revenues, and almost one-half are sole proprietorships (46%).