Estimates of the direct contribution of culture to GDP and employment in Ontario and Quebec in 2014.
Estimates of the direct contribution of culture to GDP and employment in British Columbia, Alberta, Saskatchewan, and Manitoba in 2014.
This report, based on a literature review, over 40 expert interviews, and two international focus group sessions, aims to provide a “roadmap” for the development of music, especially the commercial music sector, in municipalities of any size, anywhere in the world. The report outlines five essential elements of “music cities”:
- The presence of “artists and musicians;
- A thriving music scene;
- Access to spaces and places;
- A receptive and engaged audience; and
- Record labels and other music-related businesses”.
While 59% of Canadians had volunteered at some point in their lives, 44% did so in 2013. For the 12.7 million volunteers in 2013, the most common activities include organizing events (46% of all volunteers participated in this activity), fundraising (45%), and sitting on a committee or board (33%)
Based on the General Social Survey on Giving, Volunteering, and Participating, this article highlights the gifts of time and money made by individuals to all types of not-for-profit organizations in 2013. Overall, 44% of Canadians volunteered a total of 1.96 billion hours in not-for-profit organizations in 2013, “equivalent to about 1 million full-time jobs”. Regarding donating, the article finds that 82% of Canadians donated a total of $12.8 billion to not-for-profit organizations in 2013.
A key finding of this report, which delves into statistics on arts and culture volunteers and donors, is that there were “1 million donors and 900,000 volunteers in arts and culture organizations” in 2013.
This report argues that “public trust is of central importance to Canadian charities. It underpins many key relationships: with donors, volunteers, clients, policymakers, regulators, and corporate sponsors.” Based on a telephone survey of 3,853 Canadians 18 years or older, the report finds that 79% of respondents have "a lot" or "some" trust in charities. Trust in arts charities ranks eighth out of 11 types of charities, with 60% of Canadians indicating that they have a lot (19%) or some (41%) trust in arts charities.
Prepared for a 2013 Forum on Quebec Song, this French-language opinion piece attempts to stimulate reflection on the state of Quebec song and French-language song in particular. Raising important questions, the article examines topics such as internationalization, technological change, touring, training, and funding. The article argues that “these days, much imagination is required to develop new sources of revenue” for singers, songwriters, and music groups.
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.
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.