Situation of artists / Dance / Multidisciplinary arts

Volume: 16 Issue: 7

In this issue: Highlights from four reports that examine different aspects of the working lives, incomes, and training of artists, including reports on Canadian dance performers, Canadian multidisciplinary artists and collectives, entrepreneurship training for American artists, and the relationship (if any) between socioeconomic status and access to a professional arts career.

ARM_vol16_no7.pdf393.85 KB


  • Activities, incomes, health, and career development

    This survey of 532 Canadian dance performers examines “their dance work, their demographic and family situation, their working lives and incomes, their health and well-being, as well as their career development and transitions”.

  • A discussion paper on multidisciplinarity in the arts in Canada

    Based on 11 case studies of Canadian artists, collectives, and organizations engaged in multidisciplinary practices, this report identifies “key characteristics of multidisciplinary approaches … to develop and sustain their practices, activities and structures” as well as their key challenges and opportunities. The report notes that multidisciplinary artists’ “activities include the mixing of artistic disciplines, community- and socially-engaged arts, Aboriginal and culturally diverse arts practices, technology, science, and the blending of for-profit and not-for-profit mandates, among others."

  • Results of the 2015 SNAAP Survey Module

    This report, based on responses from 26,200 alumni of arts programs in 43 American institutions, provides “insights into the current state of career skills and entrepreneurship education in arts schools”. The author argues that “building strong business and entrepreneurial skills will prepare [arts] students for a career in a job market that increasingly rewards entrepreneurship”.

  • The key to success might be risk tolerance, not talent

    Drawing on the results of a variety of mostly American surveys, this brief article argues that there are “troubling signs that socioeconomic status does correlate with access to a professional arts career”.