The Performing Arts Education Overview - Hill Strategies Research Creative Trust PAONE
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The Performing Arts Education Overview Hill Strategies Research Creative Trust PAONE
With gratitude to the Ontario Ministry of Tourism and Culture, Minister Michael Chan, for their generous support
The Performing Arts Education Overview Performing Arts Education Overview by Hill Strategies Research, Creative Trust & PAONE 2011 www.hillstrategies.com www, creativetrust.ca paone.ca Design: BFdesign
To perform one of our public services, which is to insert poetry in to the world.
In 2009 Creative Trust and the Professional Arts We are also grateful to Kelly Hill of Hill Strategies
Organizations Network for Education (PAONE) Research, whose expertise in developing
came together to implement the arts education the survey instrument, compiling results, and
component of Creative Trusts’ Audiences creating the final Survey Report, was invaluable
Project, which aims to raise the level of to the success of the project. We owe thanks
understanding and practice by performing arts to the advice and prior work in this area of Alan
companies in Toronto of engagement, access Brown of WolfBrown Associates, who has been
and audience development. a senior advisor to the Audiences Project, and to
George Thorn and Nello McDaniel, whose work
Creative Trust, an organization whose on Growing Audiences provided the foundation
mandate is to improve the financial health and on which this project was built.
sustainability of Toronto’s mid-size and small
performing arts companies, saw arts education As both the Creative Trust and PAONE primarily
as an essential starting place for building future work and represent arts organizations within
audiences for dance, theatre, and music. the Greater Toronto Area, the PAEO focused its
research and findings within this geographic
PAONE, the network of arts education area – although we were delighted to welcome
professionals working in performing, visual responses from a few organizations further
and media arts organizations throughout the afield. We are keenly aware that educational
Province, saw the opportunity to work with activities freely cross geographic boundaries,
Creative Trust companies to develop new with some GTA-based respondents serving
opportunities, awareness and models of schools and venues across the Province and
excellence in the field. sometimes nationally.
Together we applied to the Province of Ontario’s The Performing Arts Education Overview would
Cultural Strategic Investment Fund to undertake not exist without the enthusiasm and support of
The Performing Arts Education Overview (PAEO,) the members of Creative Trust and PAONE, who
a first time study which we hope will inform and provided complete and thoughtful responses to
advance the cause of arts education in Toronto and the survey and in interviews and who expressed
Ontario. We are grateful to Minister of Tourism and their support of this work in numerous ways over
Culture Michael Chan for providing the support that the past two years.
made this project possible.
Jini Stolk Patty Jarvis
Executive Director, Chair, PAONE
Creative Trust
Provide teachers with tools to teach dance at school
Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Performing Arts Education Survey Results . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Summary of survey results. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Full Survey Responses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Full analysis of survey responses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Respondents. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Arts education spending, revenue sources and staff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Arts education goals and participation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Arts education programming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Position of arts education within performing arts organizations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Promotion of arts education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Quality of arts education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Interviews. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Arts organization interviews. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Stakeholder interviews. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Recommendations from interviews. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Conclusions and Next Steps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
The Survey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Performing Arts Education Survey. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Interview Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
People Interviewed. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
The Performing Arts Education Overview 1
To nurture new students of colour in theatre
Introduction
The last 10 to 15 years has seen a shift in the The building of audiences is now a major focus
activities of many arts organizations from solely for the Creative Trust, having identified the need
producing and presenting performances to to create a sustainable and growing audience
providing support programs that deepen the for their work. Audience development is one of
audience/artist relationship in anticipation of the primary challenges of building a sustainable
audience growth. This is demonstrated in the future for creative non-profit music, theatre
increase in arts education, outreach, audience and dance companies. PAONE’s fundamental
enhancement and community projects by mandate, as the network for professionals
performing arts companies across Toronto. In working in the arts education field, is to help its
fact, half of the respondents to the Performing members provide appropriate arts experiences
Arts Education Overview Survey report that to people, both young and old, by building skills
arts education is “an integral part of their and sharing resources.
organization’s activities.” Both Creative Trust and PAONE needed
The extent of those activities is reflected in substantiated information on the extent and
statistics compiled by the Canadian Arts Data/ methods by which performing arts companies
Données sur les arts au Canada (CADAC), contribute to arts education, as the foundation
in which a total of 207 Ontario Arts Council to support companies and arts educators in their
operating recipients located in Toronto reported development of activities that lead to successful
arts education activity in 2007/2008. audience development and community
Toronto-based OAC operating organizations engagement.
presented a total of 24,466 arts education Traditionally, organizations have viewed arts
activities for all age groups involving education programming as a means of building
3,090,707 participants (this does not audiences for the future. Years ago, this would
include activities for arts professionals and have meant simply offering a student discount
professional training programs.) or providing additional matinee performances.
Of these activities, 13,390 activities and Today it requires increased resources as arts
programming were directed at, or designed groups develop student workshop programs,
for, children or youth – with a total of artists-in-the-classroom sessions, post matinee
1,522,532 participants.1 question and answer periods, resource guides
and professional development opportunities for
teachers, to name a few examples.
1 These figures were submitted by Toronto based OAC operating clients in 2009/10, reporting on activity in 2007/08.
While these organizations are based in Toronto, a number of them engage in arts education activity both within and
outside Toronto, so not all of these activities/participants can be assumed to be in or from Toronto. (Prepared by Ontario
Arts Council’s Research Office using data from CADAC.)
The Performing Arts Education Overview 3
As funders have requested statistics on numbers The research phase involved the compilation of
reached and as their operating funding criteria currently available information about audience
have expanded to include arts education development and education initiatives within
programming, educational activities in arts arts organizations. This included reviewing key
organizations have rapidly increased. Though studies and resources in the field internationally,
there is a general agreement on the value of as well as organizational statistics of activities
these programs, there has, to date, been little and programs from CADAC (the Canadian Arts
opportunity as a community to evaluate them, Database), and People for Education’s annual
assess their impact, highlight best practices, or studies of arts activities and programs within the
identify the place of educational programming public school system.
within broader audience-building strategies. The information-gathering phase consisted of a
As each organization increases its educational survey designed to provide clear and accurate
activities, as newer companies begin to data regarding the arts education programs and
negotiate with schools and school boards, activities provided by arts organizations located
as pressure and expectation from funders to for the most part in the City of Toronto. The
provide access and opportunities for youth distribution list was to almost 100 companies,
grows, there has been no formal information including Creative Trust’s Working Capital
gathering of the scope and impact of these for the Arts and Outreach members, Canada
activities. Until now, we have had no baseline Council Stand Firm clients, and PAONE’s member
knowledge of the contribution that arts companies. Hill Strategies, headed by Kelly Hill,
organizations make to arts education in Toronto. undertook this phase, including the evaluation
This information gap is relevant not only to and analysis of the data, under the guidance of a
the arts community, but also to the education steering committee consisting of Shana Hillman,
system, community partners and, of course, Caroline Hollway, Patty Jarvis and Jini Stolk.
funders. The survey was developed with an advisory
committee made up of PAONE representatives:
We believe that the Performing Arts Education Amber Ebert (Tapestry New Opera), Karen Gilodo
Overview (PAEO) will prove be an important first (Lorraine Kimsa Theatre for Young People),
step in filling these gaps. Rob Kempson (Canadian Stage), Sharon
The PAEO was undertaken in three key phases Vanderlinde (National Ballet of Canada), with
and involved various community and education initial recommendations from Barbara Soren
partners, including a team of arts education (Independent consultant).
administrators from the PAONE membership who
acted as advisors.
4 The Performing Arts Education OverviewThough the primary goal of the PAEO is to The impact of Creative Trust and PAONE
provide statistical and practical information, companies on developing creative imaginations,
we felt it was essential to include perspectives exposing young people to varied art forms,
of leaders in the field across disciplines and encouraging them to consider creative work
examples of key activities. We therefore as a future vocation, and developing future
undertook a series of interviews with artistic audiences, is significant. Our intention is to
and/or administrative leaders of 12 companies use the PAEO to help music, theatre, opera and
who have been identified as providers of dance companies:
exemplary arts education programming and/ Share, learn, and improve their practice and
or a targeted youth focus, and with 8 key impact
stakeholders, in order to point to best practices
Discuss the current challenges companies
and offer insights and examples beyond the
face in their educational initiatives
statistical analysis.
Raise awareness of the leadership role of
Another primary intention of the PAEO is to
creative performing arts companies in arts
develop information and methodologies that
education and their communities
can be widely shared with arts organizations
throughout the Province. Toronto is the first Increase the engagement of funders and
municipality to undertake such an overview other stakeholders with the arts learning
and we expect it to function as a pilot project, activities of these companies
offering results, methods and support to other Demonstrate the level and importance of
communities that seek to understand this partnerships within the arts education sector
essential component of audience development
and arts awareness.
The Performing Arts Education Overview 5Performing Arts Education Survey Results
Summary of survey results
Introduction Most of the survey respondents were senior arts
The Performing Arts Education Overview aims education staff members or artistic directors
to provide current and accurate statistics on the within the organizations. A list of the responding
range, reach and impact of the arts education organizations is provided in the full report. The
programs of dance, music, opera and theatre Creative Trust and PAONE are grateful to all
organizations in the Toronto area. The partners the survey respondents for taking the time and
in this project; The Creative Trust and The energy to complete the questionnaire.
Professional Arts Organizations Network for Arts education spending, revenue sources
Education (PAONE) anticipate that information and staff
gleaned through this research will assist the arts For all 44 responding organizations, total arts
education community to better understand the education spending was about $12 million in the
contributions of performing arts companies to arts last fiscal year, or approximately 5% of their total
education as well as organizations’ best practices. operating budgets.
Prepared by Hill Strategies Research, Some organizations are dedicated to arts
this document provides an analysis of the education and therefore spent all of their
responses of 50 Toronto and area performing operating budgets on educational activities.
arts companies to a survey regarding their Others spent a very low percentage of their
arts education activities. With an overall budgets on arts education.
target population of 85 to 90 organizations, the
Foundations and other private sector supporters
responses of 50 organizations can be considered
are an extremely important part of the arts
valid within a maximum margin of error of +/- 9
education funding of Toronto and area
percentage points, 19 times out of 20.
performing arts companies. In fact, “private
The responding organizations come from a range donors/foundations” were selected by more
of artistic disciplines: 20 theatre companies companies than any other source of funding
(general audiences), seven dance companies, (71% of all companies), while “corporate
seven music organizations, six multidisciplinary funders” ranked third (selected by 58% of all
organizations, four theatre for young audience companies).
companies, three opera companies, and three
other groups. Government operating funding was selected by
65% of respondents, and government project
Respondents were drawn from a wide range of funding was chosen by 44%. Other sources of
budget groups, including eight respondents with revenue include student ticket sales (44% of
budgets under $250,000 and nine with budgets respondents), fee-based workshops (42%), and
over $5 million. Collectively, the organizations’ school touring revenue (15%).
total operating expenditures are estimated to be
over $250 million.
The Performing Arts Education Overview 7The organizations reported employing: Arts education goals
79 full-time arts education staff (26 There is a great diversity in the primary
organizations reporting) educational goals of Toronto and area performing
37 full-time staff, but arts education is a arts companies. When asked to select the most
partial portfolio (20 organizations reporting) important goal of their organization’s educational
programming from a list of 10 potential goals, no
66 part-time arts education staff (23 single response option received 10 responses
organizations reporting) (or 20% of all responses). Five responses were
948 artists (not on staff) selected by 6 or more respondents:
(37 organizations reporting) Ensuring exposure to the arts (9 respondents,
368 other contract or seasonal workers (18 18% of all respondents)
organizations reporting) Introduction to or exploration of a specific art
370 volunteers form (8 respondents, 16%)
(23 organizations reporting) Training / skills development in a specific
discipline (7 respondents, 14%)
Community building (6 respondents, 12%)
Building audiences for the future (6
respondents, 12%)
Which of the following are important goals of your organization’s educational programming?
(Responses of 50 Toronto-area performing arts organizations)
8 The Performing Arts Education OverviewRespondents were also asked to select all The arts education activities of most Toronto
the important goals of their organizations’ performing arts organizations have a
educational programming. As shown in the chart particular impact on residents of the City of
above, respondents most commonly selected Toronto. Most organizations indicated that
three goals: building audiences for the future the reach of their arts education programs
(92%); ensuring exposure to the arts (88%); and is city-wide (36 respondents, 72%). Nineteen
community building (74%). organizations (38%) indicated that their reach
Among organizations involved in arts education, is neighbourhood-focused. Many organizations
the relative popularity of community building also have a broader reach, including regional (20
implies that many performing arts organizations respondents, 40%), provincial (19 respondents,
are looking beyond audience development 38%), national (12 respondents, 24%) and
and arts exposure goals in their educational international (7 respondents, 14%).
programming. The 37 organizations pursuing Arts education programming for children and
community building include organizations in youth
all disciplines represented in the study (dance, Respondents were asked what types of
music, multidisciplinary, opera, theatre for education programs they provide, with separate
general audiences, and theatre for young sections for children/youth and adults. The
audiences). performing arts organizations’ most common
Participation programming options for children and youth are
The arts education activities of the Toronto and workshops and classes, followed by post-show
area performing arts companies reached over discussions, live performances (at the company
one-half million people (of all ages) in 2009- venue), teacher resource guides, and student
10. More specifically, for all 42 organizations matinees.
responding to this question, total arts education Seven other activities for children and youth are
participation was 537,000. provided by about one-half of the performing
Among 37 organizations active in schools, a arts organizations: access/subsidized programs,
total of 4,371 schools were reached by their student study guides, school residencies,
programs.2 pre-show discussions, teacher professional
development, summer programs, and college/
university partnerships. The 13 most common
activities for children and youth are presented in
the following chart.
2 Respondents were instructed to count multiple visits to one school as one school.
The Performing Arts Education Overview 9The responses to this question indicate that In terms of the closeness with which their
performing arts organizations are heavily arts education activities are tied to the school
involved in helping teachers and students better curriculum, about three-quarters of the
understand the performing arts. It is noteworthy responding organizations tie their arts education
that 64% of organizations create teacher activities somewhat or very closely to the school
resource guides and 53% create student study curriculum (73%). This includes the 41% that tie
guides. Responses to a separate question reveal their arts education activities “very closely” and
that the largest group of respondents (40%) another 32% that tie these activities “somewhat”
always creates study guides for their company’s to the school curriculum. There are organizations
productions. Another 19% create study guides in all disciplines that tie their arts education
for most productions, and 28% do so for some activities very closely to the school curriculum.
productions. Only 14% of respondents never Only 11% of the respondents do not tie their
create study guides for their productions. arts education activities at all to the school
curriculum. Another 16% tie their activities “not
very closely” to the school curriculum.
In which of the following types of arts education programs for children and youth is your
company active? (Most common responses of 50 Toronto-area performing arts organizations)
10 The Performing Arts Education OverviewArts education programming for adults Internal status and budgetary position of arts
Three adult activities are provided by at least education
one-half of the performing arts organizations: Respondents were asked for how long
post-show discussions (64%), pre-show educational activities have been part of their
discussions (60%), and workshops and classes company’s activities. Interestingly, the same
(53%). A significant minority of responding number of respondents indicated that arts
organizations provide four other adult activities: education activities have been available
professional development for teachers, teaching “since the founding of the company” and “on a
artists and staff (45%), open rehearsals (43%), regular basis, but not since the founding of the
college / university partnerships (also 43%), and company” (in both cases, 21 respondents or 42%
lectures (38%). of all respondents). Another six respondents
Programs for specific communities (12%) indicated that their educational offerings
have been available “on an occasional basis
Respondents were also asked whether (e.g., depending on production content, funding,
they have any arts education programs other factors)”.
targeted to specific communities. Youth are
the most commonly-reached community by When asked to select one statement that best
the organizations’ targeted arts education describes the status of arts education within
programming. Programs for artists, adults, and their organization, one-half of respondents (50%)
at-risk/equity groups are available in about 40% indicated that “arts education is an integral part
of the responding performing arts organizations. of the organization’s activities”. Another 30%
Performing arts organizations also provide indicated that “arts education is important within
programs for a wide range of other communities, the organization, but not integral”. The other 20%
including specific ethno-cultural groups, of respondents indicated that arts education is
immigrants, linguistic minorities, Aboriginal lacking in recognition or peripheral within their
people, and disabled Torontonians. organizations.
For the 34 organizations responding to a survey When asked to select one statement that
question about participation in arts education best describes the budgetary position of arts
programs for specific communities, total education within their organization, one-quarter
participation was 267,000. of the organizations (26%) indicated that “arts
education is appropriately and securely funded”.
Almost one-half (46%) responded that “arts
education funding is fairly adequate”. Another
one-quarter of responding organizations (28%)
indicated that “arts education funding is lacking
and/or insecure”.
The Performing Arts Education Overview 11From these responses, it is clear that the The quality of arts education often reflects
budgetary position of arts education is not as its budgetary position. For example, the three
strong as the status of arts education within organizations reporting that their arts education
responding organizations. activities “need significant improvement” also
That being said, the status of arts education indicated (in a separate question) that funding
usually reflects its budgetary position. All of the for arts education is “lacking and/or insecure”.
organizations that indicated that “arts education Six of the 12 organizations reporting that
is a peripheral part of the organization’s their arts education activities are very strong
activities” also indicated that “arts education indicated that arts education is “appropriately
funding is lacking and/or insecure”. On the and securely funded”, while the other six
other side of the coin, 10 of the 13 organizations indicated that their arts education funding is
with appropriate and secure funding indicated “fairly adequate”.
that arts education is integral within their In terms of the greatest success that
organizations. respondents have had in their arts education
Arts education quality, successes and programming, many of the 38 written-in
challenges successes relate to specific arts education
programs or the organization’s longevity in the
According to the organizations themselves, there field. Other respondents spoke more specifically
is a range in the quality of their arts education of their impacts on arts education participants.
activities, with 54% of respondents indicating
that their activities are either somewhat or very By far, funding is the most significant challenge
strong and 35% of respondents indicating that regarding the arts education activities of
their activities need either some or significant Toronto-area performing arts organizations.
improvement. The other 11% of organizations Forty percent of the organizations rated funding
rated their arts education activities as as the #1 challenge that they face, and another
“satisfactory”. 24% of respondents rated funding as the second
or third most significant challenge.
In addition, performing arts education
respondents face significant challenges
regarding communicating the value of what they
do (outside of their organizations) (24% ranked
this as the #1 challenge) and lack of time /
overwork (14% ranked this as the #1 challenge).
12 The Performing Arts Education OverviewSkills development needs Future of arts education
By far, the most common arts education- Respondents were asked whether, over the
related skills development need among Toronto next two or three years, they anticipate that
performing arts companies is working effectively their organization’s arts education activities
with schools and teachers (selected by 70% will increase, decrease or stay the same. The
of respondents). Four other skills development results of this question are quite positive, with
needs were selected by between 40% and 50% over three-quarters of respondents indicating
of respondents: working effectively with specific that they anticipate an increase (either minor or
communities (50%), marketing (46%), artist substantial) in their organization’s arts education
training (41%), and sponsorship negotiations activities:
(41%). Fewer respondents selected grant writing I anticipate a minor increase in arts
(24%). education activities. (47% of respondents)
Promotion and partnerships I anticipate a substantial increase in arts
Not surprisingly, the vast majority of Toronto education activities. (33%)
performing arts educations rely on electronic Another 12% of respondents anticipate “little or
newsletters to promote their arts education no changes”. Only 9% of respondents anticipate
offerings (91%). Other common promotional tools a decrease (either minor or substantial) in their
include brochures or flyers (80% of respondents) organization’s arts education activities.
and social media (76%).
The vast majority of organizations (88%) have
entered into partnerships or coordinated
efforts in order to further their arts education
work. Among a list of 11 possible goals of
partnerships, one stood out for respondents:
82% aim to broaden the reach and/or impact of
their arts education programs. Nearly one-half
of respondents selected two other options:
partners have specific expertise or contacts
that are useful for the program (48%) and
finding more participants for their programs
(43%). Interestingly, few respondents indicated
that increasing funding was a goal of their
partnerships (16%).
The Performing Arts Education Overview 13Full Survey Responses
Full analysis of survey responses
The Performing Arts Education Overview aims While most of the survey respondents are senior
to provide current and accurate statistics on the arts education staff members or artistic directors
range, reach and impact of the arts education within the organizations, other respondents
programs of dance, music, opera and theatre include general managers, marketing managers
organizations in the Toronto area. The partners and outreach managers. The Creative Trust and
in this project are the Creative Trust and the PAONE are grateful to all the survey respondents
Professional Arts Organizations Network for for taking the time and energy to complete the
Education (PAONE). questionnaire.
The information gleaned through research will Respondents were instructed that the survey
help the partner organizations and the arts covers arts education and arts learning. While
education community better understand the the research team recognizes that these terms
contributions of performing arts companies to include learning about the arts, learning in
arts education as well as organizations’ best the arts and learning through the arts, they
practices. The partners also hope to be better intentionally did not define these terms in
able to support companies in their continued advance, as the goal was to hear from the
development of arts education programs and field about the range of activities included in
activities that lead to successful audience arts education and arts learning within their
development and community engagement. organizations.
Prepared by Hill Strategies Research, this Respondents were also informed that their
document provides an analysis of the responses detailed responses would not be shared
of 50 Toronto and area performing arts companies with other organizations. Only summaries of
to a survey regarding their arts education the collective situation of Toronto and area
activities.3 The 50 responding organizations performing arts companies will be made public.
represent 60% of the 84 companies that were
directly invited to respond to the survey. While the
vast majority of respondents come from the direct
invitation list, a few organizations heard about the
survey via other means and went on to complete
the survey. With an overall target population
of 85 to 90 organizations, the responses of 50
organizations can be considered valid within a
maximum margin of error of +/- 9 percentage
points, 19 times out of 20.
3 The survey questionnaire, designed by Hill Strategies Research in consultation with the Creative Trust and PAONE, is
appended to this report. The survey was available online at www.PerformingArtsEducation.ca between November 1 and
December 31, 2010.
The Performing Arts Education Overview 15Respondents
The 50 survey respondents were: Obsidian Theatre Company
b current Performing Arts Corp. Opera Atelier
Ballet Jorgen Canada Pleiades Theatre
Buddies in Bad Times Theatre Prologue to the Performing Arts
Cahoots Theatre Company Roseneath Theatre
Canadian Children’s Dance Theatre/TILT Sears & Switzer Studio
sound+motion Sony Centre For The Performing Arts
Canadian Opera Company Soulpepper Theatre Company
Canadian Stage Soundstreams
City Playhouse Theatre Small Theatre Administrative Facility
Dancemakers Stratford Shakespeare Festival
DanceWorks Studio 180 Theatre
Elmer Iseler Singers Tafelmusik
Esprit Orchestra Tapestry New Opera
Factory Theatre Tarragon Theatre
FIXT POINT The Company Theatre
Harbourfront Centre The National Ballet of Canada
Kaeja d’Dance Theatre Direct Canada
Le Théâtre français de Toronto Theatre Passe Muraille
Lorraine Kimsa Theatre for Young People tiger princess dance projects
Luminato Toronto Festival of Arts and Toronto Alliance for the Performing Arts
Creativity
Toronto Children’s Chorus
Mirvish Productions
Toronto Dance Theatre
Mixed Company Theatre
Toronto International Film Festival
Modern Times Stage Company
Toronto Symphony Orchestra
Music TORONTO
Native Earth Performing Arts
Nightwood Theatre
16 The Performing Arts Education OverviewNearly one-half of the 50 respondents are Nearly one-half of these organizations are
theatre organizations, including theatre for young members of the Creative Trust (24 respondents,
audiences and theatre for general audiences (24 48% of all), and the same number are members
respondents combined, 48% of all respondents): of PAONE. Eleven performing companies (22%)
Theatre (general audiences) (20 respondents, are members of both organizations, and 12
40% of all respondents) respondents (24%) are members of neither
organization.
Theatre for young audiences (4 respondents,
8%) Organizational budgets
The non-theatre respondents represent a range In your most recently completed full fiscal year,
of disciplines: what were your organization’s total operating
expenditures (i.e., excluding capital budget,
Dance (7 respondents, 14%) normally based on financial statements)?
Music (classical, contemporary) (7 Respondents were drawn from a wide range of
respondents, 14%) budget groups, including eight respondents with
Multidisciplinary (6 respondents, 12%) budgets under $250,000 and nine with budgets
Opera (3 respondents, 6%) over $5 million:
Other (3 respondents, 6%) Less than $250,000 (8 respondents, 16%)
The three “other” responses are: $250,000 to $499,999 (10 respondents, 20%)
Dance for young audiences $500,000 to $999,999 (7 respondents, 14%)
Film festival and year-round film production $1 million to $5 million (15 respondents, 30%)
workshops $5 million or more (9 respondents, 18%)
Youth audience building / student performing No response (1 respondent, 2%)
arts engagement Using the middle value for each of these ranges
Four of the responding organizations were and an estimate of the expenditures of each of
founded before 1960 (Toronto Symphony the largest organizations (based on financial
Orchestra, 1923; Canadian Opera Company, information available online), the organizations’
1950; The National Ballet of Canada, 1951 and total operating expenditures are estimated to be
Stratford Shakespeare Festival, 1953). Another over $250 million.
six were founded in the 1960s, 14 in the 1970s,
12 in the 1980s, six in the 1990s, and six since
2000 (with the newest being Luminato, founded
in 2007). The other two organizations did not
respond to this question.
The Performing Arts Education Overview 17Arts education spending, revenue sources and staff
For your most recently completed full fiscal Arts education revenue sources
year, please estimate your organization’s total Foundations and other private sector supporters
spending on arts education programs and are an extremely important part of the arts
activities (including salaries, artist fees and all education funding of Toronto and area performing
other appropriate expenses for arts education)? arts companies. In fact, “private donors/
For all 44 organizations responding to this foundations” were selected by more companies
question, total arts education spending was about than any other source of funding (71% of all
$12 million in the last fiscal year, or approximately companies), while “corporate funders” ranked
5% of their total operating budgets. third (selected by 58% of all companies).
For individual organizations, arts education Government operating funding was selected by
spending ranged from $15,000 to $2.5 million in the 65% of respondents, and government project
last fiscal year. The nine organizations with overall funding was chosen by 44%.
budgets of $5 million or more represent more than Other sources of revenue include student
one-half of total spending on arts education by all ticket sales (44% of respondents), fee-based
44 companies reporting their expenditures. workshops (42%), and school touring revenue
Some organizations are dedicated to arts (15%). “Other” responses include tuition fees
education and therefore spent all of their and the Canadian Arts Training Program.
operating budgets on educational activities. Arts education revenue targets
Others spent a very low percentage of their
There was a nearly even split between
budgets on arts education. Overall, about
organizations with and without specific revenue
one-half of the responding organizations spent
targets for their arts education programs: 48%
more than 5% of their operating budgets on arts
of respondents have specific revenue targets,
education, and the other half spent less than 5%
and the other 52% do not. Among those that do
of their budgets on arts education.
have specific revenue targets, art education
staff members are held accountable for
meeting these targets in about one-half of the
organizations (48%).
18 The Performing Arts Education OverviewArts education staff
In your arts education activities, how many of
the following types of staff, artists or volunteers
do you employ?
The organizations reported employing:
79 full-time arts education staff (26
organizations reporting)
37 full-time staff, but arts education is a
partial portfolio (20 organizations reporting)
66 part-time arts education staff (23
organizations reporting)
948 artists (not on staff) (37 organizations
reporting)
368 other contract or seasonal workers (18
organizations reporting)
370 volunteers (23 organizations reporting)
The Performing Arts Education Overview 19Arts education goals and participation
Primary goal The two written-in responses were “to encourage
There is a great diversity in the primary ongoing creativity and to give confidence to each
educational goals of Toronto and area person’s creativity” and “training professional
performing arts companies. When asked theatre artists for the future”.
to select the most important goal of their The primary goals were analyzed by the type
organization’s educational programming from of respondent, with education or outreach
the list of 10 potential goals, no single response staff in one group (“education”) and Artistic
option received 10 responses (or 20% of all or Executive Directors in the other (“AD/
responses). Five responses were selected by 6 ED”). While most of the results are quite
or more respondents: similar between the two groups, the education
Ensuring exposure to the arts (9 respondents, staff members were more likely to select
18% of all respondents) “introduction to or exploration of a specific art
form” as the primary goal of their arts education
Introduction to or exploration of a specific art activities. In fact, no AD/ED respondents
form (8 respondents, 16%) selected introduction to the art form as a primary
Training / skills development in a specific goal. On the other hand, the AD/ED group was
discipline (7 respondents, 14%) more likely to choose “community building” as
Community building (6 respondents, 12%) the primary goal of their arts education activities.
In this case, no education staffers selected
Building audiences for the future (6
community building as a primary goal.
respondents, 12%)
The other six responses were chosen by less
than 5 respondents:
Intellectual and emotional development (4
respondents, 8%)
Preparation / engagement / evaluation
/ appreciation of a performance (3
respondents, 6%)
Exploration of an issue or theme of relevance
to the group (2 respondents, 4%)
Revenue generation (2 respondents, 4%)
Other (2 respondents, 4%)
Arts as a tool for student success in other areas
(e.g., Math, History, etc.) (1 respondent, 2%)
20 The Performing Arts Education OverviewAll goals The other three options were selected by less
Respondents were asked to select all the than half of respondents: revenue generation
important goals of their organizations’ educational (42%); exploration of an issue or theme of
programming from the list of ten possible goals.4 relevance to the group (40%); and arts as a tool
As shown in the chart below, respondents most for student success in other areas (e.g., Math,
commonly selected three goals: History, etc.) (24%).
Building audiences for the future (92%); Other written-in responses include “initiatives
that encourage interactive participation and
Ensuring exposure to the arts (88%); and
meaningful engagement with the festival
Community building (74%). programming”, empowerment, building
Four options were chosen by a smaller majority confidence, and the development of presenters’
of respondents: training / skills development arts education interest and skills.
in a specific discipline (64%); introduction to
or exploration of a specific art form (60%);
intellectual and emotional development (also
60%); and preparation / engagement / evaluation /
appreciation of a performance (52%).
Which of the following are important goals of your organization’s educational programming?
(Responses of 50 Toronto-area performing arts organizations)
4 Respondents were allowed to select all applicable responses. As such, the percentages add up to more than 100%.
The Performing Arts Education Overview 21The researchers anticipated that audience- In terms of overall budget size, the 37
building and ensuring exposure to the arts organizations pursuing community building
would rank highly on this list. A recent survey include a range of performing arts companies:
of nearly 3,700 Toronto audience members 7 organizations with budgets below $250,000.
examined the importance placed on engaging
8 organizations with budgets between
audiences by 20 performing arts companies. The
$250,000 to $499,999.
survey found that individuals participate in the
performing arts in many different ways, including 6 organizations with budgets between
attending performances, dancing, singing or $500,000 to $999,999.
playing instruments themselves, taking lessons, 11 organizations with budgets between $1
creating works, listening or watching on the million to $5 million.
internet, reading or writing blogs, and watching
5 organizations with budgets of $5 million or
TV competitions. Among attendees, the most
more.
common motivations for attending performances
are “to be inspired or uplifted”, “to engage A comparison of the ranking of responses to the
intellectually with the art”, and to discover new questions regarding primary goals and all goals
works.5 of arts education programming reveals that the
top five goals remained the same but occupied
Among organizations involved in arts education,
slightly different positions:
the relative popularity of community building
implies that many performing arts organizations Ensuring exposure to the arts (1st among
are looking beyond audience development primary goals, 2nd among “select all” goals)
and arts exposure goals in their educational Introduction to or exploration of a specific
programming. The 37 organizations pursuing art form (2nd among primary goals, tied 5th
community building include organizations in among “select all” goals)
all disciplines represented in the study (dance,
Training / skills development in a specific
music, multidisciplinary, opera, theatre for
discipline (3rd among primary goals, 4th
general audiences, and theatre for young
among “select all” goals)
audiences). The community-builders also include
organizations founded in every decade from the Community building (tied 4th among primary
1950s to the 2000s. goals, 3rd among “select all” goals)
Building audiences for the future (tied 4th
among primary goals, 1st among “select all”
goals)
5 Creative Trust's Audience Engagement Survey: Results by Discipline, Creative Trust, January 2011, available at
http://www.creativetrust.ca/resources-2/audiencesandmarketing/.
22 The Performing Arts Education OverviewParticipation Among 37 organizations active in schools, a total
The arts education activities of the Toronto and of 4,371 schools were reached by their programs.
area performing arts companies reached over For individual organizations, the number of
one-half million people (of all ages) in 2009- schools reached ranged from 1 to 1,225.6
10. More specifically, for all 42 organizations The arts education activities of most Toronto
responding to this question, total arts education performing arts organizations have a particular
participation was 537,000. impact on residents of the City of Toronto. As
For individual organizations, arts education shown in the chart below, most organizations
participation ranged from 35 to 100,000 people indicated that the reach of their arts education
in their last fiscal year. While some theatre for programs is city-wide (36 respondents, 72%).
young audience organizations were among Nineteen organizations (38%) indicated that
the companies with the highest participation their reach is neighbourhood-focused. Many
numbers, there are also some large music, organizations also have a broader reach,
multidisciplinary, dance, opera and general including regional (20 respondents, 40%),
theatre companies with very high arts education provincial (19 respondents, 38%), national
participation numbers. (12 respondents, 24%) and international (7
respondents, 14%).7
How would you characterize the reach of your arts education activities?
(50 Toronto-area performing arts organizations)
6 Respondents were instructed to count multiple visits to one school as one school.
7 Respondents were allowed to select all applicable responses. As such, the percentages add up to more than 100%.
The Performing Arts Education Overview 23Arts education programming
Respondents were asked what types of The 13 most common activities for children and
education programs they provide, with separate youth are presented in the following chart.
sections for children/youth and adults.8 The activities for children and youth that were
For children and youth selected by less than 40% of the responding
The performing arts organizations’ most common organizations are presented in the following chart.
programming options for children and youth are Other activities noted by respondents include
workshops and classes, followed by post-show arts education advocacy, community forums and
discussions, live performances (at the company showcases.
venue), teacher resource guides, and student The responses to this question indicate that
matinees. performing arts organizations are heavily
Seven other activities for children and youth are involved in helping teachers and students better
provided by about one-half of the performing understand the performing arts. It is noteworthy
arts organizations: access/subsidized programs, that 64% of organizations create teacher
student study guides, school residencies, resource guides and 53% create student study
pre-show discussions, teacher professional guides. Responses to a separate question reveal
development, summer programs, and college/ that the largest group of respondents (40%)
university partnerships. always creates study guides for their company’s
productions. Another 19% create study guides
for most productions, and 28% do so for some
productions. Only 14% of respondents never
create study guides for their productions.
8 Respondents were allowed to select all applicable responses. As such, the percentages add up to more than 100%.
The percentages in this section are based on 47 total respondents.
24 The Performing Arts Education OverviewIn which of the following types of arts education programs for children and youth is your
company active? (Most common responses of 50 Toronto-area performing arts organizations)
In which of the following types of arts education programs for children and youth is your company
active? (Less common responses of 50 Toronto-area performing arts organizations)
The Performing Arts Education Overview 25In terms of the closeness with which their Only 11% of the respondents do not tie their
arts education activities are tied to the school arts education activities at all to the school
curriculum, about three-quarters of the curriculum. Another 16% tie their activities “not
responding organizations tie their arts education very closely” to the school curriculum.
activities somewhat or very closely to the school For adults
curriculum (73%). This includes the 41% that tie
Three adult activities are provided by at least one-
their arts education activities “very closely” and
half of the performing arts organizations: post-
another 32% that tie these activities “somewhat”
show discussions (64%), pre-show discussions
to the school curriculum. There are organizations
(60%), and workshops and classes (53%).
in all disciplines that tie their arts education
activities very closely to the school curriculum. A significant minority of responding organizations
provide four other adult activities: professional
development for teachers, teaching artists and staff
(45%), open rehearsals (43%), college / university
partnerships (also 43%), and lectures (38%).
The chart below presents a ranking of all 14
response options.
In which of the following types of arts education programs for adults is your company
active? (Responses of 50 Toronto-area performing arts organizations)
26 The Performing Arts Education OverviewOther activities for adults include intermission Youth (78%)
chats, mentorship programs, internships, co-op Artists (43%)
placements, as well as online listening guides
At-risk, equity, homeless, priority
and resources.
neighbourhoods and/or social justice (43%)
Programs for specific communities
Adults (such as parents, seniors, young
Respondents were also asked whether they professionals, etc.) (39%)
have any arts education programs targeted
Families (28%)
to specific communities. (“Please check off
the following communities ONLY if you have Ethno-cultural (26%)
specifically created programs with these Newcomers to Canada (17%)
communities in mind.”)9
Aboriginal (13%)
As shown in the list below, youth are the
Linguistic minorities (13%)
most commonly-reached community by
the organizations’ targeted arts education Dis/Ability (11%)
programming. (This may be due, in part, to the LGBTQQ2SA (7%)
broad possible definition of the word “youth”.)
For the 34 organizations responding to the
Programs for artists, adults, and at-risk/equity
survey question about participation in arts
groups are available in about 40% of the
education programs for specific communities,
responding performing arts organizations.
total participation was 267,000.
Among individual organizations, participation
in arts education programs for specific
communities ranged from 5 to 115,000 people in
the last fiscal year.
9 Respondents were allowed to select all applicable responses. As such, the percentages add up to more than 100%.
The percentages in this section are based on 46 total respondents.
The Performing Arts Education Overview 27Position of arts education within
performing arts organizations
Arts education history Seven companies waited between one and ten
Respondents were asked for how long educational years before establishing educational activities.
activities have been part of their company’s The average founding date of these companies
activities. Interestingly, the same number of is 1988.
respondents indicated that arts education activities Nine companies waited 18 years or more before
have been available “since the founding of the establishing their educational programs. On
company” and “on a regular basis, but not since average, this is the oldest group of companies,
the founding of the company” (in both cases, 21 with an average founding date of 1972.
respondents or 42% of all respondents).
It should be noted that newer companies that have
Another six respondents (12%) indicated that not yet established their educational programming
their educational offerings have been available would not have completed this survey.
“on an occasional basis (e.g., depending on
One organization noted that their response
production content, funding, other factors)”.
would depend on “how you define ‘educational
There are companies of all sizes and disciplines activities’. We started a Film Reference Library
that established their educational activities at the 20 years ago a Learning department 5 years ago
same time as the founding of the company and a film festival for children 14 years ago.”
companies of all sizes and disciplines that waited
Internal status of arts education
before establishing their educational programs.
When asked to select one statement that best
Similarly, there are older and new companies in
describes the status of arts education within
both main categories (i.e., started arts education
their organization, one-half of respondents (50%)
upon the company’s founding and waited before
indicated that “arts education is an integral part
establishing arts education activities).
of the organization’s activities”. Another 30%
The average founding date of companies that indicated that “arts education is important within
started arts education immediately is 1983. The 21 the organization, but not integral”.
companies that established educational offerings
at the same time as the founding of the company The other 20% of respondents indicated that arts
includes organizations founded in 1923 and 1951 education is lacking in recognition or peripheral
but also some founded in 2003, 2004, 2005 and 2007. within their organizations:
The 21 respondents that chose “on a regular “Arts education is a part of the organization’s
basis, but not since the founding of the activities but does not receive much
company” were asked to specify when their recognition.” (10%).
educational programming began: “Arts education is a peripheral part of the
Among the 16 respondents that specified a year, organization’s activities.” (10%)
the average “wait time” before establishing
educational activities was 15 years.
28 The Performing Arts Education OverviewOf the organizations that indicated that “arts Presence of arts education on company website
education is an integral part of the organization’s An equal number of organizations indicated
activities”, 70% had established their arts that arts education activities are “prominent” or
education activities upon the founding of the “somewhat visible” on their company’s website
company. The other 30% had waited before (40% each). The other 20% of organizations
establishing arts education activities. noted that arts education activities are “not very
Budgetary position of arts education visible” on their company’s website.
When asked to select one statement that Supervisor of senior arts education person
best describes the budgetary position of arts Most of the senior staffers in education
education within their organization, one-quarter departments (56%) report to an artistic or
of the organizations (26%) indicated that “arts general director, while another 22% report to the
education is appropriately and securely funded”. administrative director.
Almost one-half (46%) responded that “arts
External partnerships
education funding is fairly adequate”. Another
one-quarter of responding organizations (28%) The vast majority of organizations (88%) have
indicated that “arts education funding is lacking entered into partnerships or coordinated efforts
and/or insecure”. in order to further their arts education work.
From these responses, it is clear that the Among a list of 11 possible goals of partnerships,
budgetary position of arts education is not as one stood out for respondents: 82% aim to
strong as the status of arts education within broaden the reach and/or impact of their arts
responding organizations. education programs.
That being said, the status of arts education Nearly one-half of respondents selected two
usually reflects its budgetary position. All five other options: partners have specific expertise
organizations that indicated that “arts education or contacts that are useful for the program (48%)
funding is lacking and/or insecure” also and finding more participants for their programs
indicated that “arts education is a peripheral (43%).
part of the organization’s activities”. Interestingly, few respondents indicated
On the other side of the coin, 10 of the 13 that increasing funding was a goal of their
organizations with appropriate and secure partnerships (16%).10
funding indicated that arts education is integral
within their organizations.
10 Respondents were allowed to select three responses. As such, the percentages add up to more than 100%.
The Performing Arts Education Overview 29You can also read
