Arts Research Monitor articles, category = Arts attendance & participation

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”.

Ripple Effects from the Arts Sector

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.

Results of Business for the Arts’ 2014 Research Initiative

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”.

Summary Report

Based on discussions at the Kingston Colloquium of the Visual Arts Alliance in 2011, this position paper attempts to identify “ways to make the visual arts more central in the lives of Canada and Canadians”. Five key themes emerged from the colloquium debates.

(La fréquentation des institutions muséales en 2012 et 2013, Optique culture no 32, May 2014)

This report highlights attendance statistics at 440 Quebec museums, interpretive centres, and exhibition spaces (excluding artist-run centres). In 2013, total attendance was 14.2 million, the highest level since the Observatoire began this survey in 2003. Total attendance at 22 art museums was 1.8 million in 2013, which was a record high since the start of the survey in 2003. Between 2003 and 2013, art museum attendance in Quebec increased by 38%, the largest increase of any type of museum or heritage organization.

Key findings

The goal of the research outlined in this presentation was to provide “reliable, detailed data on public art galleries across Ontario”, thereby influencing art gallery sector analysis as well as organizations’ benchmarking and future planning.

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.