This literature review investigates how some cultural organizations and funders have improved “diversity in cultural organizations, in the areas of their leadership, staffing, programming and audience composition”. Elements of diversity include race, culture, ethnicity, socioeconomic status, and age.
Developed as part of the Canada Council’s Expanding the Arts strategy, this guidebook aims to provide “an important resource for companies and organizations working towards increasing the participation rates within their processes of people who are Deaf or who have disabilities”. That being said, the guide also notes that “the environment within which people who are Deaf and who have disabilities continues to change. Best practices and protocols around accessibility and accommodation must be responsive to this continually changing environment.”
Originally developed for the art education experiences provided by the McMichael Canadian Art Collection, this guidebook outlines “seven steps to accessible and inclusive programs” that can be “beneficial to both audience and institution”. The guide emphasizes that accessible programs are “more than physical facilities”, and inclusive programs are “more than sharing a space”.
This 358-page report presents a number of findings concerning “the characteristics, needs, and support systems” of “ethnocultural arts organizations”. The report is based on a literature review, data collection and analysis from existing sources (such as the Canada Revenue Agency), an assessment of organizations’ needs (using results from a custom survey of ethnocultural arts organizations as well as interviews with representatives of 55 Canadian and 83 American organizations), an assessment of support programs dedicated to diverse organizations (by 95 Canadian arts service organizations and funders), and an analysis of gaps in these supports (based on a comparison of organizations’ needs and existing supports).
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.
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”.