Based on data from various American sources including the National Awareness, Attitudes, and Usage Study from IMPACTS Research and Development, this brief research post indicates that “there is a long lead time in peoples’ intent to visit cultural organizations – even for locals”. On the other hand, “the time between a ticket purchase and redemption is very quick”.
This report aims to provide a “nuanced picture of consumers’ preferences and behavior across a broad cross-section of performing arts organizations”, including four in Canada and 54 in the United States. An online survey in August 2017 received 26,996 responses from performing arts ticket buyers.
Every two years, Statistics Canada provides detailed information about not-for-profit and for-profit (producing) organizations in the performing arts. Operating revenues were $2.16 billion for all performing arts groups in 2016. Operating expenses were $1.90 billion, resulting in a collective operating surplus equivalent to 12.0% of revenues. Not-for-profit performing organizations had total operating revenues of $883 million, slightly lower than operating expenses ($889 million), leaving an operating deficit of 0.7%.
Culture Track Canada summarizes survey findings related to Canadian cultural consumers’ engagement and their “attitudes, motivators, and barriers to participation”. A key finding of the survey is that Canadians “are true cultural omnivores”, with at least one-half of cultural consumers participating in activities such as community festivals (73%), food and drink experiences (68%), historic attractions or museums (66%), zoos or aquariums (66%), music festivals (56%), variety or comedy shows (55%), science, innovation, or technology museums (54%), natural history museums (52%), public art (51%), and plays (50%).
Using the product perspective, Statistics Canada estimates that the direct economic impact of culture products was $53.8 billion in Canada in 2016, or 2.8% of overall GDP. The employment estimate was 652,400 in 2016, or 3.5% of the 18.5 million jobs in the country.
This report, “largely based on 29 interviews with staff, participants and related stakeholders”, explores two initiatives that support independent theatre makers in Toronto: Generator (“a capacity building and mentoring organization for independent performance makers”) and The RISER Project (“a collaborative and charitable approach to production and presentation”).
This report estimates that 3.5 million Canadians sang in a choir in 2017, or 10% of the country’s population, based on a public survey of 2,000 Canadians. The report also uses the results of the public survey to estimate that “7.8 million Canadian adults (18 or older) attended a choral performance in 2016”, or 28% of the adult population. The report estimates that there are 27,700 choirs in Canada, the majority of which are church choirs (17,500, or 63%).
The nine video presentations in this series outline findings “from three years of strategic experimentation and shared learning” by seven arts organizations, with the overarching goal of better understanding “how to engage with audiences and build communities”.
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”.
This brief article, based on data from various American sources, argues that “cultural organizations are not (primarily) asking for money when they aim to secure visitation. Cultural organizations are asking for an investment of time – and that is much more complicated and a bigger ask than many leaders may realize.”