This report summarizes 25 interviews in the fall of 2008 with Dance/USA members regarding their understanding of the term “audience engagement” as well as their current audience engagement activities.
This report outlines dance organizations’ current audience engagement practices and examines “the field’s philosophy towards audience engagement and thoughts on its future role to serve dance”.
This report, based on a survey of 89 performing arts organizations in the spring of 2009, examines the financial implications of the recession on theatres, orchestras, operas and dance companies in Canada. Unfortunately, the report does not provide an estimate of the margin of error, given the number of survey respondents.
Statistics Canada recently released a very brief text overview and summary data of performing arts organizations in 2007. Total revenues were $1.2 billion for all performing arts groups in 2007, a 2.8% increase from 2006 (not adjusted for inflation).
This report provides lists of the elements that are essential for a comprehensive, multifaceted and sequential music education program in schools. Among these elements:
·“Every student shall study music in each grade in elementary school.”
·In secondary school, students should have the opportunity to choose from a variety of music programs that are available to them in every academic year.
·Students should have the opportunity to participate in a range of musical performances, both in the school and in the community.
·Students should have creative musical experiences and understand the joy of participation.
Statistics Canada’s 2006 performing arts survey provides detailed statistics about non-profit and for-profit theatre, musical theatre, dinner theatre, opera, dance, musical groups and others. Total revenues were $1.2 billion for all performing arts groups in 2006, a 0.6% decrease from 2005 (not adjusted for inflation).
This report from Hill Strategies Research finds that, on average, performing arts organizations generate $2.70 in revenues for every dollar received from governments. The report also shows that fundraising revenues grew the most between 1996-97 and 2006-07.
This report argues that “values, beliefs, aspirations and motivations drive [performing arts] purchase and donation”. The author argues that attendees’ values, preferences and tastes can be used to create “a fundamentally better way to market and fundraise for the arts”, rather than simply relying on past purchase behaviours.
The primary finding of this report is that values, beliefs, aspirations and motivations are related to donations and to donation levels in the performing arts. Rather than relying only on past donation behaviour and the personal knowledge of development staff, information about values could help create “a fundamentally better way to market and fundraise for the arts”.
This presentation highlights findings regarding the broad social impacts of performing arts attendance for individuals. In addition, the presentation provides key data regarding performing arts attendance in 2005 and trends in attendance since 1992.
