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.
Based on a “nationally representative” online survey of just over 2,000 United Kingdom residents 16 or older, this report attempts to provide “detailed insights into the behaviour of arts and culture fans, their participation and attendance and how they consume content”. Overall, 89% of U.K. residents indicated that they have some interest in the arts, compared with 83% with some interest in sports. When asked whether they consider themselves an “arty person” or a “sporty person”, more U.K. residents chose arty (43%) than sporty (38%).
Based on a survey of 4,026 Americans 18 years of age or over, Culture Track 2014 examines cultural attendance as well as the attitudes, motivations, and behaviours of “culturally-active audiences” in an attempt to “understand what’s really driving or discouraging cultural participation”. Between a similar 2011 survey and the 2014 iteration, there was an increase in the percentage of Americans participating at least once a year in many art forms (including four types of museums, musical theatre, and classical music), but there were some decreases (including drama, classical dance, modern dance, and opera). The survey found that the frequency of participation has decreased over time, which the survey attributes to a lingering “effect of the economic downturn”. The report indicates that “cultural audiences are seeking both entertainment and enlightenment”.
This large-scale survey, completed by 8,124 Canadians 16 or older, aimed to develop “a better understanding of who dances in Canada, where they dance, and why”. The majority of survey respondents were identified as “leisure dance participants” (5,948, or 73%), with the remaining 2,176 respondents (or 27%) being dance professionals. Respondents identified 190 different dance forms in which they participate.
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 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”.
This report examines the benefits “for people, communities and the economy” of arts organizations receiving operating funding from the Alberta Foundation for the Arts (AFA) over a seven year period (2006-2013). In addition to statistics from operating funding recipients, the report includes statistics from other sources, such as a public survey that was conducted in the province.
As the report’s title indicates, one of the key findings of this presentation of ongoing research is that many Canadians look favourably on companies that support the arts. A public survey found that 52% of respondents “feel more favourably towards businesses that support arts and culture”.