Based on data from various American sources including the National Awareness, Attitudes, and Usage Study from IMPACTS Research and Development, this brief research post indicates that “there is a long lead time in peoples’ intent to visit cultural organizations – even for locals”. On the other hand, “the time between a ticket purchase and redemption is very quick”.
This report aims to provide a “nuanced picture of consumers’ preferences and behavior across a broad cross-section of performing arts organizations”, including four in Canada and 54 in the United States. An online survey in August 2017 received 26,996 responses from performing arts ticket buyers.
Every two years, Statistics Canada provides detailed information about not-for-profit and for-profit (producing) organizations in the performing arts. Operating revenues were $2.16 billion for all performing arts groups in 2016. Operating expenses were $1.90 billion, resulting in a collective operating surplus equivalent to 12.0% of revenues. Not-for-profit performing organizations had total operating revenues of $883 million, slightly lower than operating expenses ($889 million), leaving an operating deficit of 0.7%.
Culture Track Canada summarizes survey findings related to Canadian cultural consumers’ engagement and their “attitudes, motivators, and barriers to participation”. A key finding of the survey is that Canadians “are true cultural omnivores”, with at least one-half of cultural consumers participating in activities such as community festivals (73%), food and drink experiences (68%), historic attractions or museums (66%), zoos or aquariums (66%), music festivals (56%), variety or comedy shows (55%), science, innovation, or technology museums (54%), natural history museums (52%), public art (51%), and plays (50%).
Based on experiences conducting demographic surveys of arts organizations in Chicago, Minnesota, Los Angeles, and Houston, this article outlines key findings regarding the measurement of identity-related characteristics (but not actual survey results). The surveys focused on five characteristics: race/ethnicity, age, gender, LBGTQ status, and disability status.
Based predominantly on a survey of 2,487 creative sector workers in the United Kingdom (called the Panic! Survey), this report concludes that “the cultural and creative industries are marked by significant inequalities”.
This report summarizes the diversity within English arts organizations in 2016/17, based largely on an annual Arts Council England survey completed by larger client organizations. The report’s diversity statistics include a focus on disability, ethnicity, gender, and sexuality.
Based on a national survey to which 436 arts organizations responded in late 2017, this report provides information about salaries and benefits in 21 management and administrative positions in Canadian not-for-profit arts organizations.
“Intended to contribute to more effective practice in cultural development planning”, this online resource could be used either to help create a new local cultural plan or assess an existing plan. The framework provides measurable outcomes for cultural activity in each of five domains (cultural, economic, environmental, governance and social).
Quebec’s cultural observatory provides an annual summary of a survey of municipalities regarding their spending on the arts, culture, and heritage. Quebec municipalities’ operating expenditures on culture totalled $909 million in 2015, representing 4.8% of total municipal operating expenditures.