Based largely on a survey of 372 companies in Ontario’s live music sector, this report attempts to identify the impacts of live music on Ontario’s economy, employment, and communities. The report also endeavours to serve as a benchmark for the measurement of changes in the live music sector.
Based largely on data from 48 cultural organizations that offer regularly scheduled free days, this article argues that “free days often do the very opposite of mission work”, in that they tend to attract higher income individuals who probably would have come (back) to the organization anyway.
This article, based on a variety of reports and data sources, indicates that “there is a significant proportion of economically disadvantaged people who do not take the initiative to experience the arts, even when time and cost are not issues.” Furthermore, the article argues that “a lack of explicit interest is far and away the dominant factor keeping low-SES [socioeconomic status] populations away from arts events”. Low socioeconomic status is defined “as those with at most a high school education and in the bottom half of the income distribution in the United States”.
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.
While not related to the arts, this report is an interesting example of research into new citizens’ participation in Canadian life, in the world of sports. The report is based on a survey of 4,157 new citizens residing in urban areas who have participated “in the Institute for Canadian Citizenship’s Cultural Access Pass program”, focus groups in eight Canadian cities, and a literature review of sports organizations’ focus on immigration and diversity.
This report provides “evidence-based insights into the health of U.S. arts and cultural organizations”, based on more than 55,000 arts and cultural organizations. The report is very detailed, with data related to 128 indices and in-depth reporting on 26 indices.