The Art of Orchestra Photography

An interview with expert orchestra photographer Tam Lan Truong
By Boran Zaza


If you attended our last Rendez-vous des orchestres du Québec, then you will have seen an energetic, enthusiastic, friendly photographer roaming around the room smiling to everyone, capturing different moments of the event with great discretion and professionalism (some shared below)Tam Lan Truong has established himself as one of Montreal’s most sought-after photographers for classical musicians, ensembles and organizations, including orchestras such as Orchestre Métropolitain, Orchestre classique de Montréal, Ensemble Obiora, among others, and artists such as Maria Dueñas, Yannick Nézet-Séguin, Lang Lang, and even Michael Bublé. In the following blog post, I interviewed Tam to learn more about how he gets the perfect shot, how orchestras can make the most out of their relationship with a photographer, and what to look for in a photographer! 

1. How did you start doing classical music photography?

Tam: In Germany, where I grew up, I spent a lot of time on the other side of the camera—as a classical musician and performer. My dad is a cinematographer who trained in Russia, and my grandfather had the only photo studio in his town in Vietnam. So yes, photography is in my blood, but its music that really drew me in. 

I still remember my first classical music photography gig back in 2015. Opera McGill hired me after they saw some photos I took of a Broadway choir I used to sing with, and that opened the door to a whole new world. Later that year, Schulich School of Music asked me to update their entire photo catalogue—everything from orchestra shots to concert photos, even brochure covers. Thats when my photography career really took off. 

These days, Im lucky enough to work with some of Montreals top classical music institutions like Opéra de Montréal, Concours Musical International de Montréal, Salle Bourgie, and Orchestre Métropolitain. Whether its a donor cocktail,  a passionate performance at Maison Symphonique, or fun moments backstage, capturing the heart of classical music in a city like this is something Im grateful for every day. 

2. How do you prepare for an orchestra concert shoot? 

Tam: One of the biggest challenges in orchestra photography is finding the best angles without disrupting the performance. Thats why I always get to the hall early to figure out the space. I check which doors I can use without making noise, where I can move without being noticed by the audience, and which angles might work best without drawing attention. 

I also make sure to go over any specific requirements with the orchestra—like if there are particular moments they want captured or areas I should avoid. Then, I clean my gear, review the evening’s program to time my angles with the musical movements, and get everything ready. That way, when the music starts, I’m in the right places to get the shots I need without being in the way. 

3. What is your go-to photography equipment when you are hired for an orchestra concert?

Tam: Shooting orchestras is all about context. Concert halls are dark, the lighting doesnt change, and you cant move around much because the audience shouldnt even know youre there. And trust me, theyll notice if youre not careful—unlike a rock concert, nothing moves in the hall, not even the musicians! So, staying unobtrusive is key. 

Thats why I use two mirrorless camera bodies with a ‘silent photography’ mode—no clicks, just quiet captures. My Nikon lenses silently autofocus using advanced technology, ensuring I dont disrupt the performance. This setup not only keeps me invisible but also lets me capture every detail with precision, from the subtle expressions of the musicians to the grandeur of the concert hall. I keep my gear handy with a solid black tool belt, and I always wear my go-to outfit: a black shirt, grey pants, and comfortable, elegant, non-squeaking shoes. 

For close-ups that capture the engagement of individual musicians, I rely on a long lens. To showcase the full beauty of the concert hall and the entire orchestra, I switch to the camera with the wide-angle lens. And when I need to be completely invisible—like during the Concours Musical International de Montréal—I bring out my secret weapon: a camera on a robotic arm, set up in advance and controlled remotely. This setup allows me to capture the emotion and atmosphere of the performance without ever being in the way.

An action shot from Concours musical international de Montréal – 2019 | Credit: Tam Photography

4. What are the 5 top qualities an orchestra photographer should have?

Tam: Being an orchestra photographer requires a unique blend of skills and qualities. You need to: 

  1. Be a Musician: Knowing the rhythm and flow of music helps you anticipate those key moments that make a shot special. 
  2. Be a Professional: Being on time is a given. Then there is delivering on your promises, being polite, and respecting the atmosphere of the performance. 
  3. Be Human: Stay present and open to whats happening around you. Building a connection with the musicians and understanding their energy can lead to more authentic photos. 
  4. Be an Artist: Creativity is key. Whether its finding a new angle or capturing a fleeting emotion, being spontaneous and seeking out novelty is what makes each shoot unique. 
  5. Be Adaptable: Every performance is different, and things dont always go as planned. The ability to adapt quickly to changes, whether its adjusting to lighting or responding to a last-minute request, is crucial. 

5. How do you get the perfect action shot of a conductor/orchestra musicians?

Tam: Music is all about change—notes, moods, everything shifts in an instant. A magical moment might last just a second, and you could miss it if you’re only watching.  

Thats why I rely on my ears as much as my eyes. Being a musician myself, Ive learned to listen for those magical moments: the build-up in the strings, a sudden change in dynamics, or the way a conductors energy shifts before a big crescendo. It’s the music that guides me to the perfect shot, often before the moment even happens, allowing me to consistently capture the emotion and intensity that define a performance. 

Yannick Nézet-Séguin conducting Orchestre Métropolitain | Credit: Tam Photography
Daniel Bartholomew-Poyser conducting Ensemble Obiora | Credit: Tam Photography

6. How can orchestras be good clients to you and other photographers?

Tam: To get the best results, its important to start with clear communication. I need the usual details: where, what, who, and when. But it also helps to know about any specific shots the orchestra is looking for. For example, if an orchestra has a new conductor, I can focus more on capturing their presence. If photos are needed within 24 hours for social media or press releases, thats something I can accommodate as well.

The more information provided upfront, the better I can tailor the shoot to meet my clients’ needs. Its also helpful to discuss any special requests or potential challenges ahead of time. Maybe certain sections need more attention than others. Perhaps the conductor prefers a certain side. Open communication not only ensures were on the same page but also helps maximize the impact of the photos we create together. 

Of course, in case of uncertainty, it’s also sufficient just to let me know the date, time, and place, and I will take care of the rest. 

7. From your perspective, besides concert shots/orchestra and conductor shots, what should marketing managers ask a photographer to capture when they hire them?

Tam: Besides the usual concert and conductor shots, I always suggest getting some behind-the-scenes photos. Capturing those moments when musicians are warming up, chatting, or just relaxing adds a personal touch that really resonates with audiences. These shots are perfect for websites, social media, and presentations, giving people a peek into the life of the orchestra. Sure, it might add an extra hour to the shoot, but if we do it on concert day, its more efficient and can save on costs. 

As a plus, this provides your musicians with content that they can proudly share on their social media, increasing the reach of your orchestra organically. It also fosters a sentiment of belonging to the orchestra.  

Other shots that will enhance the story you tell about your concerts are shots that highlight your audience before, during, and after the concert. 

Photo from a donor appreciation event by Orchestre Métropolitain | Credit: Tam Photography

8. How do you keep your shots interesting and unique to every orchestra/concert when the lighting conditions are often quite similar in concert halls and all musicians are dressed the same?

Tam: Last year, I shot about 30 concerts at Maison Symphonique. The lighting was pretty much the same every time, and of course, all the musicians were dressed in their go-to black. So how do you keep the shots interesting when the setup doesnt change much? The trick isnt in the what—you could see it as a bunch of people on stage with their instruments while the conductor waves their arms. Its in the how—how the individuals come together to make something special. 

As a photographer, youve got to be fully present. Listen to the music and watch the performance closely. Focus on isolating individuals, sections, and the conductor. Pay attention to their movements and their tendencies. Then, capture those moments where the energy shifts and the magic happens. Thats where you find something unique every time, even when everything else stays the same. 

9. What are three things orchestras can do to ensure their concert photos stand out instantly?

Tam: Here are three things you can do to make your concert photos really stand out: 

  1. Play with lighting: Lighting can completely change the atmosphere of your photos. Take the Orchestre Philharmonique et Choeur des Mélomanes at Maison Symphonique—in some concerts, they add extra lights in the background, creating patterns and colors that match the music. Just tweaking the lighting a bit can make a huge difference in how your concert is captured. 
  2. Add some unique elements: Doing something unexpected can make your photos pop. For instance, Ive seen Ensemble Caprice have their front row of singers toss roses into the audience at the end of a piece—it made for some amazing, dynamic shots. Orchestre Classique de Montréal brought in tango dancers during a Piazzolla performance, adding movement, energy, and passion that really came through in the photos. 
  3. Go for a color theme or special detail: Even small visual touches can set your orchestra apart. Ensemble ArtChoral had everyone wear a red accent for a concert called “A Viennese Evening”, which looked striking on stage. 

It doesnt have to be complicated. With musicians typically dressed in black and sitting still on stage, even the smallest detail can make your orchestra stand out visually. 

Tango dancers at a performance of Orchestre classique de Montréal | Credit: Tam Photography
Different lighting at Maison Symphonique during a performance by Les 9 de Montréal | Credit: Tam Photography

10. What can orchestras expect from you when working with you?

Tam: Everything I mentioned about being a musician, professional, human, artist, and adaptable comes into play when you work with me. Im committed to bringing all those qualities into our collaboration to make sure you get the best results. 

In terms of deliverables, if were shooting for a two-hour block, you can expect around 40-60 beautiful photos within a week. For an extra fee, I can also make a selection of 5-10 photos for social media the next day. 

My goal is to help make classical music accessible to as many people as possible, and a big part of that is contributing to the image an orchestra presents. Thats why I offer different packages to suit different needs. For example, I can do a 1-hour shoot with a set number of edited photos if thats what fits the budget. I can also offer discounts when booking me for a whole season to make it more affordable. I definitely understand that orchestra budgets can vary a lot, from large institutions to volunteer-led groups.  

Learn more about Tam Lan Truong here:  https://www.tamphotography.net/

 

About Tam Lan Truong 

A headshot of Tam Lan Truong. He is wearing a brown shirt, a black blazer and is smiling.As a graduate of McGill University’s Desautels Faculty of Management, fluent in English, French, Vietnamese, and German, my career as a professional photographer and artist is shaped by a global perspective and a genuine passion for classical music. This passion is rooted in a family legacy of cinematographers and photographers, driving my dedication to capturing moments that tell a meaningful story. 

Over the past nine years, I’ve developed a strong presence in Montreal’s classical music scene, earning the trust of clients like the Concours Musical International de Montréal, Orchestre Classique de Montréal, Opéra de Montréal, Schulich School of Music, and GFN Productions. I’ve had the privilege of visually narrating their most significant moments. My work has been featured in respected publications such as The Strad and CBC, reflecting the impact and reach of my photography. 

While I’ve had the opportunity to collaborate with internationally renowned artists like Maria Dueñas, Yannick Nézet-Séguin, Lang Lang, and Michael Bublé, these are just some of the highlights of the diverse range of projects I’ve been fortunate to be part of, both within and beyond Montreal. 

My background as a classical musician enhances my artistic approach and deepens my connection to the music and its performers, enabling me to capture moments with authenticity and sensitivity. This blend of music and photography isn’t just my profession; it’s a passion that drives me to create images that celebrate the legacy and beauty of classical music. 

New Audiences and How to Retain Them: What I learned at Classical:NEXT

Headshot of Boran Zaza

By Boran Zaza, Director of Communications & Development at Orchestras Canada.


It’s been three months since I returned from Berlin, where I attended Classical:NEXT (C:N), the world’s largest global gathering of art music professionals. I went to many conference sessions focused on orchestras, mainly on the topics of Innovative Leadership Models, Environmental Sustainability in Orchestras, and today’s blog post topic, Audience Trends and Tools.

It’s no secret that orchestra audiences have been aging and declining, both in Canada and globally. So, how do we bring in and retain new audiences? This was exactly what a C:N conference session entitled The Complete Audience Toolbox: A Practical Guide to Getting Larger Audiences into the Concert Hall addressed. The session was led by Danish culture consultants Cecilie Szkotak Nielsen & Søren Mikael Rasmussen from RasmussenNordic 

Cecilie and Søren developed the Tutti project with DEOO (Danish Ensembles, Orchestras and Opera Institutions). Over the course of their work together, ten Danish orchestras took a deep dive into audience development and the cultivation of new audiences. Their methodology was simple: they invited 28 first-time concertgoers to attend a concert and share their unfiltered experiences through extended interviews after the concerts. The result? A detailed (and downloadable!) report with extremely interesting insights that can help orchestras better understand what motivates (or demotivates) first-time ticket buyers to return for a second (third…fourth…fifth) orchestral experience.  

This project and report reminded me of a similar experiment led by Aubrey Bergauer and the California Symphony in 2016-17 called Orchestra X. In that experiment, the orchestra invited millennial and young Gen-Xers (otherwise largely absent from the California Symphony’s audiences) to attend a few California Symphony concerts and then debrief on their experiences – as a group – over pizza and beer.  The process and findings are documented in a pair of posts on Medium: Introducing Orchestra X and Orchestra X: The Results. 

Back to the Tutti project & report: the report identified several barriers that made the selected participants not want to come back after their concert experience. In response, Danish orchestras and RasmussenNordic developed a set of 26 tools and 6 inspiration lists to help address barriers to entry and inspire orchestras to respond more thoughtfully to the requirements of new classical music audiences. These tools and inspirations are documented in a book called Tools for Orchestras and Ensembles: Get More Audiences. 

During the conference session at C:N, Cecilie and Søren shared valuable insights from both the report and the book. Here are my top learnings from the session: 

 

1- The brand of orchestras is… unrelatable! 

Kelvin, 20, was one of the case study participants. He is interested and curious about classical music. He spends around 1000 euros per year on cultural experiences, yet classical concerts are not one of them. “I have seen the posters around town. The older severe white people with their instruments didn’t speak to me,” he said.  

How can orchestras resolve this? As part of the tools in the book, RasmussenNordic suggest trying to fill the following brand promise out:  

“With us, audiences will experience _______, _______ and _______.” 

“We promise you _____________________.” 

“Music that _____________________.” 

“Experience ___________________.” 

The 10 participating orchestras found these prompts hard to complete, and it’s not surprising: it takes the brand promise from orchestra-focused to audience-experience- focused. Some orchestras wondered if they would lose what differentiated them if they simply took their lead from audience members.  Yet if we actually take a look at the visual images of our orchestras that we use to market our events and enhance our brand, THEY ALL LOOK THE SAME! (I proved this to myself by reviewing orchestra websites from different continents: it’s hard to argue that they promote a unique brand when the photos are almost identical.  See below for proof.) In short, by listening to your audiences and centering your brand around them, you might start to stand out! 

Symphony Orchestra of India
KBS Symphony Orchestra – Korea
Syrian Expat Philharmonic Orchestra
Orchestre national de France
Austin Symphonic Band
Royal Stockholm Philharmonic Orchestra

 

2- Artistic programming: New audiences don’t understand it 

Audiences new to orchestras and classical music typically have very few tools to help them determine whether or not they will like a concert. We’re advertising pieces and composers they have never heard of, rather than enticing them with concepts that help them understand what they can expect from the concert experience. The RasmussenNordic team suggests that, instead of awkwardly super-imposing a concept onto a program at the marketing stage, (when it’s too late!) it should be an integral part of the programming work. To help with this, RasmussenNordic has developed a Concept Compass tool, which you can find below. Additionally, they suggest that marketing folks and musicians should be part of the programming process, to build understanding and commitment across the organization. That way, all parties can be part of conveying the concept to audiences new and established.  

RasmussenNordic’s Concept Compass

 

3- Storytelling is vital: are you engaging people’s imaginations? 

Once you have a strong concert concept, the consultants suggest that you need an inspiring story to accompany it, to give audience members cues. Caroline, a case study participant, reported that she thought she should like classical music: but having experienced one concert, she has decided that she won’t return. She was seeking an activity that would catalyze her imagination, take her to other worlds, and help her to experience things differently.  But her concert experience failed to deliver. Can we help people like Caroline experience our concerts differently?  

The consultants suggest that we need to develop a great story for each concert, prompted by the inspiration behind the music, a personal anecdote, a story about the instruments, or the composer. For example, if the chosen concert concept is “At the royal ball”, the supporting story could look like this: “Come along on a journey back in time when kings feasted in castles, seated in lavish halls of marble, dressed in silver and gold. Imagine you are invited to a royal wedding. The light from chandeliers showers you in gilded splendor while lively tunes invite you to dance.” 

Is your imagination provoked yet? 

Cecilie and Søren presenting at Classical:NEXT – Photo by Boran Zaza

4- Great hosting skills are essential  

First-time concert attendees typically arrive in the concert hall without being greeted or welcomed. They sit in their seats, the musicians and conductor walk on stage without saying a word of acknowledgment, and everyone – on stage and in the audience – leaves afterwards without saying goodbye. Nor are those first-time attendees invited to stay in touch.  

Can we be better hosts?  How? Think about the warm and memorable experiences you’ve had of being thoughtfully hosted, whether at a friend’s dinner party or at a favourite restaurant or hotel. This is the vibe you want to create. What if you offered first-time ticket-buyers help in choosing their first concert? What if there was someone greeting them with a smile when they entered, and asking them what they needed? What if you asked them after the concert “What did you think about the experience? Did you have a good time? What could we have done better? When will we see you again?” 

One orchestra experimented with offering a free recording of the concert to people who signed up for their newsletter after the concert, and reported long line-ups to sign up because people loved the idea of having a souvenir to share with their family and friends. Even if we can’t offer recordings, are there ways we can help audience members sustain and share the experience we’ve created for them?  

Credit: Classical:NEXT, #Cnext24
Photo: twinematics

 

This brings to conclusion the 3-part blog post series from my time at C:N! To get a taste of the C:N experience in video format, check out the Instagram stories I posted while in Berlin! I am deeply grateful for the generous funding from the Canada Council for the Arts through the Supporting Artistic Practice: Professional Development for Arts Professionals program that made my trip to Germany to attend Classical:NEXT possible.   

 

We acknowledge the support of the Canada Council for the Arts.

Logo, Canada Council for the Arts logo

Innovative leadership models in Orchestras: What I learned at Classical:NEXT

Headshot of Boran Zaza

By Boran Zaza, Director of Communications & Development at Orchestras Canada.


Classical:NEXT (C:N) is the largest global gathering of art music professionals. Traditionally, it has taken place in different European cities each year — as of 2024, C:N has made Berlin, Germany its permanent home. C:N features conference sessions, showcases, meetups and project pitches. Over 1400 art music professionals from 49 countries attended this edition – their biggest gathering yet, after a hiatus in 2023 to consider “what’s next?” 

From May 13 to 17, I had the privilege of attending C:N for the first time, thanks to generous funding from the Canada Council for the Arts through the Supporting Artistic Practice: Professional Development for Arts Professionals
program. As someone in the “conference organizing” business, I must say that I was quite impressed by the magnitude of this event, the variety of sessions offered, and the plethora of experiences present at the same space! There is something for everyone at C:N. My main interests were conference sessions focusing on the future of orchestras, of which there were many. Three key orchestra-specific themes emerged from the sessions that I attended:  

  1. Leadership models in orchestras  
  2. Environmental sustainability  
  3. New audiences: How to retain them?  

The topic of Diversity, Equity, Inclusion, and Belonging was also present, especially at the global orchestras meetup that I attended. Feminism in classical music was another topic of discussion and interest, about which I attended a fascinating session.  

In this first blog post, I will focus on the first theme: Leadership models in orchestras.  

No Conductor, No Chairs, No Sheet Music 

On the opening day of the C:N in Berlin’s newest concert hall, Saal Pierre Boulez (opened in 2017), five showcases took place. The one that stuck with me the most was Stegreif, the Improvising Symphony Orchestra from Germany. Stegreif is a collective of 30 musicians, who “combine the heritage of classical compositions with improvisation and regard the classical symphony as the starting point for a new concert experience”. Stegreif’s showcase was called “The Symphony of Change”, was based on the works of 4 female composers:  Hildegard von Bingen (1098-1179), Wilhelmine von Bayreuth (1709-1785), Emilie Mayer (1812-1883) and Clara Schumann (1819-1896). Stegreif started by performing each piece as originally composed, then the original transcription diverged and opened space for improvisation, complemented with choreography.  

Credit: Classical:NEXT, #Cnext24
Photo: twinematics

Their performance was immersive: in the oval concert hall, musicians walked around barefoot between the audiences, all leading and following one another without a conductor. Their energy was contagious… it felt like a big classical music party among friends! Even the cellos had stools with wheels that allowed them to move around. This reminded me of the Montreal-based ensemble Collectif9, which also performs standing up with neither sheet music nor a conductor. Stegreif has taken that concept of having no conductor and the musical freedom while playing to a whole different level to create a truly immersive experience, and their ensemble is made up of about 2/3 classical musicians and 1/3 jazz musicians – I had never seen anything like this before!  

The next day, still buzzing from this unique musical experience, I attended a conference session titled Leading and Following in the Orchestra: Models Beyond the Traditional Hierarchy, presented by Stegreif. The three speakers were the Artistic Director, Lorenz Blaumer, the Managing Director, Lorina Strange, and their Jazz Drummer and composer, Hiromu Seifert. In this session, Stegreif spoke in detail about their philosophy, how they work together, their artistic mediation and community outreach efforts, governance, and pay equity, among other topics.  

Here are my top learnings from this presentation:  

Photo: Boran Zaza

1. Collective leadership happens on-stage, and most importantly, off-stage
The end result that we see on stage when attending a performance by Stegreif is impressive, with musicians leading and following one another on stage seamlessly. Achieving this result requires the involvement of all musicians in decision-making, artistic and otherwise, on and off stage. All the musicians participate in shaping the performance, and rehearsals are led by different people (even for the same work). The musicians also participate in “Future Days,” where they share (and sometimes argue) about their values and artistic goals.  

2. Inward mediation is as essential as the outward mediation
You probably know about artistic mediation and community outreach. But what is integrated mediation?  

Integrated mediation is the interplay of collective management culture, artistic work, and mediation. It has 2 components:  

  • Outward mediation, which is one the many orchestras across Canada already do through programs presented at schools, community centers, retirement homes, hospitals and more.  
  • Inward mediation, which means learning from each other within the orchestra. For this, each musician takes a leadership role in educating their colleagues through a workshop or a seminar on a topic relevant to the orchestra.  

The outcome of both different mediations helps inform artistic decisions of the ensemble.  


3. Pay equality doesn’t equal pay equity, but it’s a good starting point
At Stegreif, all musicians are paid equally. This worked well for a while, but as some orchestra members had children, “equal” pay didn’t respond to disparities in living situations. For example, when the orchestra goes on tour, who pays for childcare for those who require it? Everything can be discussed at Stegreif. So now, on tour, the orchestra pays for the accommodation and flight of a babysitter but not the babysitter fees. They encourage the musicians to bring a family member to take care of the kids.  

For staff salaries, the board of directors (comprised of 5 musicians) decides how much the staff is paid.  

4. Collective leadership is not about one leadership style: It’s about knowing when to use which leadership style
Every musician of Stegreif knows exactly what the 5 leadership models are: Democratic, participative, autocratic, charismatic, and natural (competence-based). By educating all musicians on these leadership models, they understand exactly what strategies are employed when, why they are used, and how to be better followers when a certain leadership style is in use. For example: the musicians are co-creating a new work in a democratic style but conversations take longer than expected, the show is the next day, and executive decisions must be made quickly – the musicians know exactly how to react to this and how to help one another, whether leading or following, to ensure the show is ready on time.  

5. The magic ingredient: Having fun together!
The Stegreif team radiates a unique pride in their pertinence, belonging and making a difference for each musician in this orchestra. The trust that has been built over the years among the musicians and their sense of ownership of their orchestra makes it more than a job: it is family and friends. Oftentimes after rehearsal, the musicians will stay to jam together and have fun. One of the topics that came up throughout C:N was how to keep orchestra musicians engaged and inspired throughout their career, and Stegreif is certainly on to something through their leadership model!  

You can learn more about Stegreif on their website.

You can see videos of what a Stegreif concert experience is like here

And What if Orchestras were Owned by Musicians?  

Photo: Boran Zaza

The other conference session that focused heavily on leadership models was titled A Vision for the Symphony Orchestra: Transformative Leadership and Collective Innovation in Orchestral Music. Panelists included Simon Webb, Head of Orchestras and Choirs at BBC and Fiona Stevens, CEO of Concerto Köln. The panel was chaired by Karsten Witt, Managing Director of Karsten Witt Musik Management GmbH.  

In London, UK, the four main orchestras (Royal Philharmonic, London Symphony, London Philharmonic and Philharmonia) are owned and governed by the musicians. Simon Webb talked about how he, a seventh cellist, found himself in a leadership role as someone on the board without any prior leadership experience.  

Fiona Stevens used to be an extra at the Concerto Köln. She changed her career during the pandemic when the job of CEO at that orchestra opened.  She’s currently doing an MBA in Arts Innovation at the Global Leaders program to address the gaps in training that did not necessarily prepare her for a leadership position.  

Those are two instances of musicians finding themselves in leadership roles with many responsibilities without having formal training or preparation for handling them. Both examples here are thriving, but it took them a lot of courage, time, and hard work. This raises the question: How can we better prepare musicians for leadership roles for which their musical training did not prepare them?  

Some of the main discussion points of this panel included the following: 

  1. If musicians are involved in leadership, they should have access to the training and resources needed to be good leaders. Leadership training is not part of musical training, despite the fact that musicians are likely to find themselves in a leadership role, one way or another, at some point in their careers.  
  2. What are musicians in orchestras and ensembles learning from their organizations, and what are their organizations learning from them? Orchestras have long prized compliance and efficiency in the rehearsal and delivery of concerts for the public. But what if we prioritized experimentation and learning – by musicians, by staff, by volunteers – instead?    
  3. Orchestras should open up to communities and stay relevant to them. How do orchestras develop talent within the community? Every orchestra and choir must support learning by the people they serve, so they can participate more deeply in the art form.  How orchestras partner with universities, nurseries, and schools is very important to how they stay relevant in their communities.  

Additional Reading Resources:

In my next blog post, I will cover environmental sustainability in orchestras. In the meantime, to get a taste of the Classical:NEXT experience in video format, check out the Instagram stories I posted while in Berlin!  

A beer brewery turned into a cultural hub in Berlin. Photo: Boran Zaza

 

We acknowledge the support of the Canada Council for the Arts.

Logo, Canada Council for the Arts logo

10 Insights: What do Performing Arts Audiences Want Now?

On June 22nd, Orchestras Canada, in partnership with CAPACOA and the Association for Opera in Canada, presented a free webinar on the latest trends and research on ticket-buying behavior of performing arts patrons. Eric Nelson from TRG Arts presented research on the recovery of the performing arts post pandemic, and Zander Kyba from AudienceView presented and analyzed ticket buyer research collected by their team.  

We’ve put together 10 insights we learned from their presentation that will help orchestras boost their bottom line, five from Eric & TRG Arts and five from Zander & AudienceView.  

 

10 Insights: What do Performing Arts Audiences Want Now?  

 

Insights from Eric and TRG Arts 

1.We need to compete with the couch

Eric shared that in order to compete with the comfort of home, organizations should lean into the intrinsic value of gathering together and the elevated experience. Audiences are looking for experiences that are immersive, gamified, diverse and/or with technology everywhere 

2. Donations are decreasing 

When we compare quarter 4 of 2022 and quarter 1 of 2023 to the same quarters in 2019, some very interesting insights into revenue recovery post pandemic are revealed. To begin with, we can see that revenue is down 5%, but units are only down 17%. This indicates that, while attendance is down to events, those who do attend are spending more than they did pre-pandemic. Donation revenue tells a different story. Donations are down 38% in revenue and 24% in units, meaning that there are fewer people donating and those who do are donating less than before. To address this, Eric recommends speaking to donors and investigating what is holding them back from donating at the same level as before. Later we will explore other strategies to bring back donors.  

3. Take a closer look at patron loyalty

What is RFMG? TRG Arts offers this anagram to analyze the commitment and loyalty of patrons:  

  • Recency: Are they engaging in some way every year? 
  • Frequency: Do they engage frequently during the same season? 
  • Monetary: How does their financial investment compare? 
  • Growth: Can we count on their investment/activity to be consistent (or grow) every season? 

These are the metrics we should be assessing when looking at loyalty programs and targeted marketing. 

4. New Customers are coming, but they aren’t staying!

TRG Arts divides patrons into segments that cover the wide spectrum of loyalty within an organization’s database. They describe 3 levels of engagement and further segments them below; acquisition, current customer, and re-engaged: 

Acquisition 

  • New Customer: Had not transacted previously. 

Current Customer 

  • Once before: Transacted once before within the past 18 months. 
  • Convertee: Transacted twice before and at least once within the past 18 months. 
  • Active: Transacted 3-9 times in their history and at least once in the past 18 months  
  • Super Active: Transacted 10+ times in their history and at least once in the past 18 months  

Re-Engaged  

  • Stale: last attendance, prior to the most recent purchase, was 18-36 months ago  
  • Lapsed: last attendance, prior to the most recent purchase, was 3 years or more ago

From these segments, TRG Arts has collected data that shows significant participation from New Customers but that loses momentum from Once Before and Convertee patrons. This tells us that the churn rate of consumers is higher than ever before and that organizations need to be taking extra measures to drive retention from new patrons.  

5. Gen X and Millennials are participating more! 

Finally, Eric presented data divided by generations and taken exclusively from orchestras within the dataset. TRG Arts found that Gen X and Millennial participation has grown post pandemic while older generation participation has declined. Yet, Baby Boomers are still the largest donors within the data set. Millennial contributions have grown but Gen X has remained stagnant. Eric pointed out that Gen X patrons should be nearing the peak of their earning potential and thus should be larger philanthropists. He recommends organizations reach out to this demographic and make a targeted effort to engage them.  

 

Insights from Zander and AudienceView 

6. 41% of patrons are attending fewer events than they did pre-pandemic 

Zander began his section of the webinar by revealing that, according to AudienceView’s data, most patrons are attending the same or more performances than they did pre-pandemic. Yet, there remains 41% of patrons who are attending fewer events than they did in 2019. So how do we get these folks back?  

AudienceView’s data revealed that 63% of patrons said that ticket sales and discounts would compel them to attend more events followed by new shows and content being brought to the venue. The 3rd most popular option was subscriptions and packages with flexibility and value.  

7. Patrons are looking for elevated experiences 

AudienceViews data also revealed that audiences are looking for full and elevated experiences when they attend events, with 4 of 5 reporting that they prefer to pair event attendance with another experience. Patrons are looking to make a full afternoon or evening of their event experience by pairing a meal or drink with their experience. Zander suggests that organizations appeal to this by partnering with food and drink venues to offer packages or reservations along with ticket purchases.

8. Box office and phone purchasing are on the rise 

AudienceView reports that while most patrons this year continue to prefer to buy tickets online, 20% of patrons reported that they preferred to make purchases using the box office in person or via phone call. This is of interest as last year’s data showed that only 13% of patrons preferred in person or phone call purchases, showing a significant increase.  

Additionally, Zander pointed out that when asked why they abandoned purchases, 39% of patrons reported that they found that added online fees were unexpected and too high. For this reason, he suggested that organizations should notify patrons from the beginning of the purchase journey that these fees exist or working them into ticket prices, so they seem less shocking to consumers.  

9. Make donation opportunities available along the patron journey  

AudienceView’s data suggests that patrons are welcome to donate during multiple stages of their purchase journey. Patrons reported a smattering of responses when asked. The top two answers were online separate from the ticket buying process, and in person at the event separate from the ticket buying process. This is followed by online during the ticket buying process. What this suggests is that organizations should be providing opportunities to donate in multiple locations across the patron journey to address all preferences. 

10. Patrons want exclusivity in exchange for their donations 

So, how do we persuade patrons to donate when we ask them? AudienceView’s data suggests a few strategies, most of which provide a sense of exclusivity. Top examples include early access to purchase event tickets, tax deductions and access to exclusive donor only events. The data also shows that patrons are most likely to donate to public fundraisers hosted by venues and associations that share specific goals. People want to know where their money is going, so Zander recommends making that clear in fundraising communications. 

 

We would like to offer a final thank you to Eric and Zander for sharing their insight and expertise on this topic! Additionally, thank you to our co-presenters CAPACOA and the Association for Opera in Canada. If you would like to learn more about what Eric and Zander shared or review the recording and slide deck from their presentations, check out https://oc.ca/resource/performing-arts-recovery/.  

Reflections on SphinxConnect: Forging Alliances

From January 27-29, 2022 the Orchestras Canada team had the pleasure of attending the SphinxConnect: Forging Alliances conference. The annual convening, held virtually this year, brought together a stellar lineup of presenters across the North American arts ecosystem (musicians, administrators, board members, funders, and more) to discuss diversity in classical music – including fellow Canadian and Orchestras Canada’s own board member, Daniel Bartholomew-Poyser. The conference culminated in the annual Sphinx Competition for young Black and Latinx string players – another virtual adaptation for this year, but with no loss of talent and creativity.

In the blog post below, OC staff share a few of our reflections on themes that emerged – however, we encourage you to learn from the thoughtful presenters directly as you are able. The recordings of the conference presentations are all generously made available for free in a playlist on the Sphinx Organization’s YouTube channel! 

About the Sphinx Organization 

The Sphinx Organization is a US-based “social justice organization dedicated to transforming lives through the power of diversity in the arts,” founded by American violinist and music educator Aaron Dworkin. It began its work in 1997 as the Sphinx Competition for young Black and Latinx string players. The competition continues to this day, but Sphinx has since evolved a robust suite of programming focused on fostering excellence and increasing representation of Black and Latinx classical artists – including education, performance, commissioning of new works, and leadership development opportunities for Black and Latinx artists and arts workers. 

Conference reflections 

1- Human potential and innovation 

A theme that arose repeatedly in the sessions that OC staff attended is the human potential and innovation that is possible for orchestras, if we are willing to embrace its full spectrum. The conference program covered so many areas of opportunity for orchestras – from governance, to artistic programming, to music education and community engagement and beyond. There is so much talent – both in emerging artists and arts workers, as well as existing expertise in folks already working in the art form – that we can engage with and learn from.  

As Achia Floyd put it in the “Rising LEADers” session: don’t think within a frame of what we are losing by diversifying classical music, but instead what we are gaining… the opportunities for developing the talent and art form you already have in your organization, and how we can grow through better, more innovative and inclusive collaboration. 

2- An ongoing tension for orchestras: Upholding tradition vs. Responding to today’s realities 

A quote that stands out in particular to OC staff is “Tradition is not the worship of ashes, but maintaining the fire,” shared by Enrique Márquez in the Rising LEADers session. WOW! How can (and will) orchestras’ art, our capacity to gather people to enjoy music together, serve our neighbours in 2022 and beyond?  

For the last couple of centuries, orchestras have been (by and large) in the business of tradition – particularly Eurocentric tradition, at the expense of racialized artists, workers, and patrons. While there is much beauty in the music we have played through centuries, presenters across SphinxConnect sessions rightly point out that the continued survival and elevation of classical music in the 21st century depends on a keener attention to the needs and ambitions of the communities in which we presently live – especially those that our Eurocentric traditions have excluded.  

Not only is drawing from a broader palette of talent (in the work played, in those playing it, and in those “keeping the lights on” behind the scenes) the right thing to do from an anti-racist + being good humans and art-makers point of view, it enriches an orchestra’s work and is essential to the perception of our continued relevance and value. For example, one panelist pointed out that millennials expect diversity when they enter arts spaces – if your orchestra is not reflecting the communities you serve, you risk being passed over by your audiences of present and future. 

Jazmín Morales, host of the “Where the Wild Things Are” panel, emphasized that to be “wild” and thus responsive to the “wild times” in which we live means to think freely about what is possible and not get stuck in procedure and habit. And as the “Higher Registers: Evolving Artistic Excellence” panel pointed out, the pandemic has broken many habits (e.g. rigid artistic planning cycles, length of concerts) — how can we continue to evolve with and respond to our turbulent times? 

3- Sustaining and continuing to build on positive change 

In his closing keynote, Weston Sprott stated that he had seen more progress on diversity and inclusion in classical music in the last two years than he had seen prior to that in his entire lifetime – however, “the jury is still out” on how long the work lasts… as such, “It’s on us to keep the pressure to ensure that all this progress is not temporary”. 

Presenters also emphasized that lasting change in the diversity of our art forms is key – and part of ensuring lasting change is (as David Stull put it) by “altering the DNA” of arts institutions, structurally inserting and creating mechanisms that require change to continue, such as multi-year ongoing programs that commit to diverse artists’ advancement over the long term – not just the present moment.  

Multiple conference presenters advocated for a broad scope for diversity work in each organization: it cannot be siloed on one committee or in one role. Presenters emphasized the importance of aligning values at all levels of decision-making (including board, executive leadership, and funders) – but also noted that change can happen in any team or role. For example, in “Learning to Disrupt ‘the White Racial Frame’ in an Industry Rooted In It” marketing and communications staff reflected on how they had applied anti-racism in their daily work at Minnesota Orchestra, sharing examples of racist vs. anti-racist language. 

4- Last but never least… the music! A chat with 2022 Sphinx Competition judge, Juan-Miguel Hernandez 

Headshot of Juan-Miguel HernandezJuan-Miguel Hernandez, a Montréal-born violist with a distinguished international performance career, is no stranger to the Sphinx Competition. In a mid-February phone conversation with Boran Zaza (OC Communications and Development Director) Hernandez credited his top prize in the Senior Division at the 2006 Sphinx Competition as an important “kickstart” for his success as a classical musician:  

“I had it in me, but I needed them to say, okay, we’ll give you what you need to kickstart the career. […] It’s the whole being in the right place at the right time. Sphinx makes sure you’re in the right place at the right time.” 

When discussing the 2022 competition, for which Hernandez was one of several judges, he emphasized that each young performer arrives with outstanding technical skills – to decide on the top prizes, Hernandez boils judges’ expectations “down to an incredible artistry in a way of doing music. […] And we were incredibly impressed with the level of artistry that we saw.” Given the virtual format of the 2022 competition, judges cast their votes individually after the performances to decide on competition winners (as opposed to gathering in person to reach a decision). Despite the change in format, for Hernandez “this year I have to say I was very, very happy with the end result.” 

Congratulations to the 2022 Sphinx Competition Winners! 

Senior Division 

  • First Place Laureate & winner of the Robert Frederick Smith Prize ($50,000): Kebra-Seyoun Charles, double bass 
  • Second Place ($20,000) : Gabriela Lara, violin 
  • Third Place ($10,000): Harper Randolph, viola 
  • Audience Choice ($5,000): Gabriela Lara, violin 

Junior Division  

  • First Place Laureate ($10,000): Jonathan Okseniuk, violin 
  • Second Place ($5,000) : Brandon Leonard, cello 
  • Third Place ($3,000): Ana Isabella España, violin 
  • Audience Choice ($1,000): Brandon Leonard, cello 

Links to resources 

The full recording of the 2022 Sphinx Competition can be viewed here. 

Recordings of all SphinxConnect conference sessions: YouTube

Notes on conference sessions attended by OC staff here.

Resources from A Spotlight on Women in Musical Leadership

On Wednesday, October 27, 2021, Orchestras Canada and the Association for Opera in Canada partnered to present a spotlight on the Women in Musical Leadership (WML) program, a multi-year training fellowship for female and non-binary conductors.

Helmed by Tapestry Opera and lead partners Toronto Symphony Orchestra and Pacific Opera Victoria, WML addresses the historic gender inequity at the classical podium by providing intensive training, mentorship, and opportunities to gifted conductors. Working in tandem with a growing network of partner organizations across Canada, WML facilitates placements where participants observe and engage in the activities of partner seasons.

Watch the recording of the session
Download the information document of the WML program

If you have any questions about how to get involved or want to learn more about WML, please get in touch with Jennifer Szeto, Women in Leadership Project Manager: [email protected]

Storytelling’s Superpower: Artistic Responses to the Climate Crisis

On June 2nd, Soulpepper Theatre Company, Professional Association of Canadian Theatres (PACT), and Artists for Real Climate Action (ARCA) hosted “The Green Sessions: A Day of Learning”. OC staff attended and were blown away! As we explore and contextualize the implications of the United Nations’ Sustainable Development Goals for Canadian orchestras under OC’s 2021-2024 strategic framework, this afternoon of learning offered insights into a key question: What could our artistic responses to the climate crisis accomplish?  

The Green Sessions: A Day of Learning comprised plenary sessions with renowned speakers as well as anumber of breakout sessions to explore specific aspects of the climate emergency in detail. Presenters included Melina Laboucan-Massimo, the Hon. Steven Guilbeault, Jesse Wente, Seth Klein, Annamie Paul, Dale Marshall, Kendra Falconi, David Maggs, Carolynne Crawley, Alanna Mitchell, Toby Heaps, Matt Millares, Gabrielle Bastien, Batul Gulamhusein and Emma Stenning. 

Below, you’ll find a few key takeaways: 

Indigenous Worldviews at the Forefront 

The day began with a heartfelt presentation from Melina Laboucan-Massimo (founder of Sacred Earth Solar and co-founder of Indigenous Climate Action). Melina’s home community is Lubicon Lake Cree First Nation in Little Buffalo, Alberta – situated in the heart of the Boreal Forest and the Alberta oil sands. Melina emphasized the power of Indigenous worldviews to address the climate crisis by valuing reciprocity with mother Earth as well as collective care structures and governance. Melina also reflected on the impact of intergenerational trauma on First Nations people brought on by environmental racism (such as an oil spill in Melina’s home community), residential schools, and centuries of colonialism. For Indigenous peoples in Canada, cultural and environmental genocide are connected, as continued destruction of the land or removal of Indigenous peoples from their lands also contributes to the destruction of Indigenous ways of life. In our fight for climate justice, it is imperative to acknowledge the strength of Indigenous worldviews to inform paths forward as well as pain, exhaustion and trauma Indigenous communities face amidst settler colonialism. Orchestras Canada stands in solidarity with the First Nations, Inuit, and Métis people on the frontlines of the fight for environmental justice. 

Watch Melina’s keynote, “Indigenous Issues and the Climate Emergency,” here 

 

Storytelling’s Superpower: Inspiring Action and Change 

In his keynote, The Hon. Steven Guilbeault (Minister of Canadian Heritage) drew from his experience working in environmental activism prior to joining the House of Commons. He mused on the limitations of climate communication focusing on dreadful statistics or doom, expressing his belief in the connection between the arts and a new wave of more effective climate communication focused on instilling hope to inspire action. 

In his keynote, Jesse Wente (Chair of the Canada Council for the Arts) emphasized the power of art to “liberate our imaginations” to envision better futures than what capitalism and colonialism currently offer, socially and environmentally. Further, he argued that storytelling is “crisis resistant” — as artists, we have the power to reframe and raise the profile of the climate emergency, within and beyond our sector, starting any time. We can use art to communicate and vivify our current emergency and our futures; to mobilize communities and inspire new thinking about our present and future relationships with the Earth. For example, through partnerships with scientists and environmental organizations, The Only Animal uses theatre to foster a “love story” between audiences and the natural world.  

Watch Minister Guilbeault’s keynote, “The Climate Emergency and Politics,” here 

Watch Jesse’s keynote, “The Climate Emergency and Culture,” here  

Rallying Around The Emergency 

Author Seth Klein’s keynote presentation distilled the arguments from his recent book, A Good War: Mobilizing Canada for the Climate Emergency, connecting the lessons from large-scale mobilization around the Second World War to our present-day climate crisis. Every great mobilization needs the arts! For example, looking back to World War II, artists played a critical role in helping to sell war bonds, creating paintings of the front lines, and producing relevant music. It was an era when art and hope met to motivate people amidst an incredible challenge.  

Seth argues that prior to going into “emergency mode” to address a crisis, societies usually experience a denial period (you may be familiar with this challenge in the climate sense…). According to Seth, the four markers of when a government has upgraded its efforts to emergency mode are:  

  1. Spending whatever it takes to “win” 
  2. Creating new institutions to get it done 
  3. Turning voluntary/incentive-based policies into mandatory measures 
  4. Telling the truth to communicate the sense of emergency 

As of yet, no Canadian political party meets all four markers regarding the climate emergency. Take the COVID-19 pandemic for comparison; these 4 markers were hit very quickly in Canada! The Canadian Centre for Policy Alternatives (CCPA) estimates that the government spends $5 billion a year on the climate emergency, and $5 billion a week on the COVID-19 pandemic. We saw extraordinary spending to protect our population against the threat of COVID-19, which (Seth argues) demonstrates that these funds have always been available for emergencies — they just haven’t been allocated to issues like climate change. With the majority of Canadian leaders not acting as if climate change is an emergency, our greenhouse gas emission levels are not reducing at the rate needed to meet the crisis looming. Currently, all measures are voluntary and, thus, easy to ignore.  

Watch Seth’s keynote, “The Climate Emergency and the Artists,” here 

Artists Leading 

Personal contributions matter, but if we want significant changes, we need the government to act. As multiple speakers noted, we have 11 years to reduce our greenhouse gas emissions enough to avoid catastrophic climate change. Annamie Paul (Leader of the Green Party of Canada) reminded attendees that Canada ranks among the top five countries in the world for greenhouse gas emissions per capita, with the worst reduction records among the G7. Since signing the Paris agreement in 2016, our emissions have actually increased every year – not declined. If we want to reduce emissions by 60% by 2030, Annamie argues that we need carbon budgets and big changes. By and large, the public recognizes the scale of our emergency – but why don’t our political leaders? How can we motivate them, or increase the number of people in politics willing to act on the climate crisis? Annamie encouraged artists to run for politics, to take up seats at the table with our voices advocating for climate action and the vitality of our sector. 

Watch Annamie’s keynote, “Climate Action and Policy,” here 

The Green Sessions: A Day of Learning was inspiring and shed light on how artists and arts organizations can engage our skills to champion change together. Stay tuned to Soulpepper Theatre for news on upcoming Green Sessions: A Day of Training and A Day of Action which are scheduled for late August/early September (exact dates TBC). You can reach Soulpepper Theatre at [email protected] and can view all recordings from The Green Sessions in this YouTube playlist: The Green Sessions: Day of Learning recordings 

A Pandemic Snapshot of Orchestras

Visual for the SurveyTo mark one year since the pandemic halted the operations of orchestras and arts organizations across Canada, we are diving into some new data about the situation of orchestras. The National Arts and Culture Impact Survey, which was spearheaded by Orchestras Canada and the findings of which were published earlier this year, received responses from 728 organizations, including 73 orchestras. Comparing orchestras with arts organizations overall helps shed light on some key trends that can help orchestras orient themselves for the gradual relaunch ahead. 

1- Orchestras feel left behind by government supports

Overall, orchestras felt less positive about many of the government supports than arts organizations as a whole. 57% of orchestras said they were not eligible for the Canada Emergency Wage Subsidy (CEWS), compared to 45% of all arts organizations. Overall, orchestras were less likely to give a positive rating to most government support programs:

2- Orchestras are leading the work-from-home trend

Nearly three-quarters (72%) of orchestra workers have been working from home during the pandemic. Even after an eventual relaunch, 50% of the orchestral workforce is expected to continue working from home. This proportion doubles pre-pandemic levels (26%) and is higher than arts organizations as a whole (42%).

3-Orchestras are feeling positive about digital

Orchestras tended to have more positive experiences with digital programming than arts organizations as a whole, with 49% saying digital programming exceeded their expectations versus 35% of organizations as a whole. Interestingly, orchestras are more likely to agree that they have the interest, capacity, knowledge, equipment and technology, and internet speed to go digital than arts organizations as a whole.

4-Nearly one in three orchestras is at risk, others are in a holding pattern

31% of orchestras were either closed or still assessing their ability to stay open. In general, orchestras feel further away from recovery than other organizations. Orchestras were significantly more likely to select “the focus on post-pandemic activities/recovery/assistance” as a barrier to receiving funding (10% of orchestras vs. 2% of organizations as a whole). Paradoxically, orchestras are more likely to feel optimistic about their ability to recover from the pandemic (74%) than arts organizations as a whole (67%).

5- Huge career losses for individuals

Since the pandemic, 83% of artists and arts workers in the orchestral sector have lost at least some work, with 13% no longer working in the sector at all. On average, respondents have been working in the arts for 23 years. At least 71% of individuals reported a lower expected income than what they were originally projecting. The proportion of individuals who estimate an income of under $20,000 (35%) tripled compared to pre-COVID (13%). 

In addition, individuals project more non-arts income in the mix, with just 68% of these artists and arts workers’ income coming from the arts today vs 80% pre-COVID. About one-third of individuals said it would be unlikely they would be working in the arts and culture in three months’ time (February 2021).

6-Increased stress and anxiety

About four times as many individuals report very high or high levels of stress and anxiety today as compared to before COVID-19. Even more telling is that no respondents reported very high levels pre-COVID-19, compared to 33% today. Women are more likely than men to report high levels of stress and anxiety today than pre-COVID, while the difference pre-COVID was minimal.

7- Orchestras Canada members more connected

Organizations affiliated with Orchestras Canada (60%) tend to be more likely than all participating arts organizations (48%) to stay informed by way of national peer meetings. In addition, about two-thirds (64%) of respondents affiliated with Orchestras Canada report feeling informed about sector and government updates, which is higher than 49% reported by all participating individuals. Yay OC community!

Source: National Arts and Culture Impact Survey, January 2021

Are Canadians ready to return to the arts?

On Tuesday, Sept 22, Chief Data Scientist and Founder of Nanos Research, Nik Nanos shared findings of the latest Arts Response Tracking Survey (ARTS), a partnership between Business / Arts, the National Arts Centre and Nanos Research, which polled over 1,000 Canadians to gauge their attitudes on returning to and supporting the arts across Canada. The fieldwork for this study was completed on July 30th, 2020 and targeted Canadian arts-goers. 

These latest findings offer terrific insight for arts organizations, in particular, fundraisers to help inform programming and fundraising models.

ARTS focused on three axes: 

1- Timing of Return, which tracked the impact of the pandemic and when arts-goers plan to return.

2- Conditions for Return, which tracked what precaution Canadian arts-goers would like to see in place prior to returning to arts and cultural events

3- Donations, which captured reported donation activity for 2019, 2020 and projected to 2021 to understand the likely immediate impact of the pandemic and to plan for 2021. 

Key findings:

 

• Timing of return: 

For indoor cultural activities, 23% of Canadian arts-goers would go back immediately, while 38% said they’d wait 6 months on average before going back. 1 in 3 still unsure about going back.

As for outdoor cultural activities, 37% said they’d go back immediately, 30% would wait 5 months on average, and 1 in 3 are still unsure about going back. 

Museums and galleries are the venues which Canadian arts-goers are not certain about the most, with a whopping 43% who said they’re unsure about when they’d go back. 

 

• Conditions for Return:

Culture-goers increasingly say that masks are a precaution that would make them feel comfortable to attend in-person. This suggests an alignment with public health recommendations. 

For indoor performances, 40% of indoor culture-goers (compared to 27% in May) who plan to attend immediately after reopening want masks. 

As for those who plan to wait 1 to 5 months before returning to attending performances, 43% expressed that they want masks (compared to 29% in May). 

The numbers are very similar for Outdoor performances: the consensus is that people would feel much safer if precautions included masks. 

 

• Donations:

In 2019, 43% of culture-goers donated to arts/cultural organizations an average of $158. In 2020, it is anticipated that the numbers will go down: 39% of culture-goers except to donate an average of $126 , which is a drop of 20% compared to 2019. 

On the bright side, 2021 seems to be promising: 42% intend to donate an average of $222, which is a 40% increase compared to the current year. 

Nik Nanos highlighted the fact that arts organizations will be hit hard this year. However, depending on the economical environment, there will likely be a rebound in donations in 2021. 

It is worth noting that the 35-54 age segment plan to donate less in 2021. This, however, will be compensated by a growth in donation amounts by the 55 plus cohort: their generosity is expected to continue into 2021. 

 

There was a discussion after the presentation by five panelists:

1-  Wesley J. Colford from Highlanders Theatre shared an inspiring success story; This relatively young theatre company, based in Sydney, Nova Scotia, was expecting to go bankrupt by August 2020 due to the pandemic. Instead of giving up, they started a program called “Radical Access”, where they pivoted from selling tickets to a crowdsourcing model by requesting monthly donations. The model has been a great success and they are already at 98% of their funding goal.

2- Irfan Rawji from Glenbow Museum in Calgary discussed finances, and what the Canadian government could do to help arts organizations. He highlighted the example of a UK government program that covers 50% of restaurant-goers’ bills on Mondays, Tuesdays and Wednesdays. In essence, the government is allowing the public to pick which restaurants will survive. 

3- Monica Esteves, ED of Canadian Stage in Toronto, said that they surveyed their audiences in June, and learned that their audiences were concerned about the company and its survival. At the same time, audiences were not willing to make long term commitments. In response, Canadian Stage is programming and selling their activities in three month “mini-seasons” and will continue to do so for the next 12 months at least. The board of directors reviews progress and approves plans in three month increments, enabling rapid organizational response to emerging situations.   

4- Claire Sakaki, ED of Bard on the Beach (Vancouver), spoke about their 31 year old Festival, which typically presents 300 performances in an iconic Vancouver location in the summer months. Ticket sales and donations make up the largest proportion of their $9 million annual revenues. Transcending physical location, they quickly re-branded to “Bard Beyond the Beach” with a temporary logo, and started “Bard in your Heart”, a brand for donors. At the same time, they re-imagined all of their activities on virtual platforms, ranging from (performances – you didn’t say?) through backstage tours and an annual dinner.

5- Jayne Watson, CEO of the National Arts Centre Foundation, talked about the NAC’s efforts to keep donors connected and happy at a time of great uncertainty.  She noted the strong connection between appealing projects and donor generosity, highlighting such initiatives as the NAC funding 12 theatre companies to deliver socially distanced performances, and the continued success of the Canada Performs series of free, live-streamed performances. She also noted their pivot from their traditional fall gala to an emphasis on individual donations, including a donation matching program. 

Slides from the meeting 

Video of the meeting

 

Helpful Resources to Learn About Racial Inequity in the Arts and Non-Profit Sector

In late May, the deaths of George Floyd in the United States and Regis Korchinski-Paquet in Canada, each at the hands of the police, provoked an international movement condemning anti-Black racism and police brutality. In the months since, Canadian police have also killed Chantel Moore, Rodney Levi, and Ejaz Choudry, reinforcing the calls for action to address police violence against BIPOC communities in Canada.

There is now a greater sense of urgency in this country in the fight against systemic racism. These issues extend beyond just law enforcement; white supremacy and systemic inequities are prevalent in all industries, including the arts and orchestras. Many people have taken to writing about the arts and non-profit sectors to explain these inequities and provide insights to what long-term change could look like.

Reading list compiled by Nina Jeftic, Equity Coordinator, Orchestras Canada (summer 2020)

We Must Breathe – Why it is important to talk about race and racism in the context of classical music by Lukas Krohn-Grimberghe (WQXR), June 2020

In the article “We Must Breathe – Why it is important to talk about race and racism in the context of classical music”, Lukas Krohn-Grimberghe dives into why classical music, an art form often considered to be universal and meant for everyone, benefits from white privilege and is inaccessible to many. While classical music remains overwhelmingly white, Krohn-Grimberghe highlights why conversations about race in the context of classical music are relevant to the ongoing conversations of systemic racism within society.

Time to finally deal with racism and discrimination in Canadian charities, Shanaaz Gokool (Toronto Star), July 2020

Shanaaz Gokool delves into the world of Canadian charities and not-for profits to discuss the discrepancies that occur between their public mandates and private behaviours. Gokool notes that the pandemic continuously shines a bright light on systemic inequities that appear within these organizations, and calls for the sector to act and make changes that will create long lasting change and put an end to these inequities. She discusses major areas that all not-for profit organizations can improve on, from redefining roles within the organization to implementing new management requirements.

Give Us Permanence—Ending Anti-Black Racism in Canada’s Art Institutions, Syrus Marcus Ware, June 2020

In “Give Us Permanence—Ending Anti-Black Racism in Canada’s Art Institutions”, Syrus Marcus Ware writes about Canadian art institutions needing to go beyond their Black Lives Matter statements and acknowledge the inherent racism and white supremacy that has and continues to exist within them. He discusses the important work of Black artists and curators and presents ways to achieve long lasting structural changes within arts organizations, considering both a shift in power dynamics as well as the works showcased.

A Crisis of Whiteness in Canadian Art Museums, Sean O’Neill, June 2020

In his article, Sean O’Neill surveys the boards and senior executive teams of the four largest public art museums in Canada, finding that they are overwhelmingly white. While most of these organizations make efforts to diversify their exhibition programming, O’Neill calls this “outward -facing progress”, as artists and curators are not in charge of making decisions that are be instrumental to seeing systemic change within arts institutions. His article explains why this overwhelmingly white leadership needs to change in order for public art museums to effectively hold themselves accountable and serve their communities.

An Open Letter to Arts Organizations Rampant with White Supremacy, Nana Chinara, May 2020

“An Open Letter to Arts Organizations Rampant with White Supremacy” is a personal account of Black queer femme artist Nana Chinara, who details her recent experiences working in the arts. Chinara discusses an ongoing grant process in which she was mistreated and the lack of accountability from her employers, even after challenging them to take responsibility. Her article highlights that these mistreatments were all choices made by her employers and discusses the numerous ways in which white supremacy affects Black artists in the industry. She provides several suggestions to organizations to uproot the white supremacy ingrained in them.

A Collective Awokening in the Performing Arts, Michael Zarathus-Cook, June 2020

Michael Zarathus-Cook writes about the performing arts world and explains that the idea of diversity alone does not create a safe space for BIPOC artists, the industry needs to begin to foster a culture of inclusivity. He discusses the need for inclusivity in every aspect of the organization in order to create these spaces, not just in works programmed and performers featured, and that inclusivity extends beyond race. Hosted by Against the Grain Theatre, Zarathus-Cook led two panels as a follow-up to his article featuring BIPOC, LGBTQ2S+, and disabled artists where they discuss the need for equity in the performing arts and what changes can be implemented.

A Collective Awokening in the Performing Arts Panel part 1

A Collective Awokening in the Performing Arts Panel part 2

8 Ways People of Color are Tokenized in Nonprofits, Helen Kim Ho, September 2017

In efforts to diversify or be more inclusive, many organizations may try to recruit or highlight their BIPOC staff/work, which often leads to them being tokenized. In her article, Helen Kim Ho discusses why these organizations, who are dedicated to the common good, so frequently have adverse outcomes to their diversity and inclusion initiatives. She reviews 8 ways that people of colour are tokenized within non-profit groups and why each of these is harmful to those individuals affected.

Open Letter to Directors, Executive Directors, and CEOs of Canadian Charities and Non-Profits, Senator Ratna Omidvar, June 2020

In this open letter, Senator Ratna Omidvar reveals that a majority of non-profits in Canada do not collect data on the diversity of their employees and leaders. Collecting this information annually would be a way to hold these organizations accountable as well as see if and how progress is being made. Senator Omidvar claims that when it comes to diversity, “the sector’s spirit is willing, but it’s flesh is weak”, and calls for the non-profit sector to be leaders in the battle against racism through this crisis

Nonprofits and Foundations Are Unintentionally Promoting Racism: Here’s How to Stop, Michele Norris and Sean Gibbons, February 2019

Michele Norris and Sean Gibbons confront the issues of racism in non-profits head on and discuss how these issues are intertwined with the environment we live in (while their focus is on America, these claims ring true in Canada as well). They write about the influence of the sector and why they cause unintended harm. The article goes through an example of this and discusses the steps taken to reduce it. Norris and Gibbons call for honest introspection within the non-profit world as part of the necessary practices that need to be built to combat racism.

Dear White Orchestras, Alexander Laing (Arts Journal), January 2017

When discussing the lack of Black and Brown people orchestras, Alexander Laing claims that the majority of discussions center around a universalist ethic, where it’s assumed that orchestral music is a universal artform. In his articles, he challenges readers and those part of the classical music/orchestral world to move towards a particularist ethic when discussing issues of race, a definition he borrows from author Jennifer Harvey which “recognizes that there is no one shared standard against we might measure or interpret our experiences of race, nor one to which we may all be held similarly accountable.”

Notes on Racism, and White Supremacy In Classical Music, Brandon Keith Brown, May 2020

Conductor Brandon Keith Brown comments on how racism and white supremacy have personally impacted him and his career in “Notes on Racism, and White Supremacy in Classical Music”. He calls for white people to start doing anti-racist work within themselves. Brown believes that classical music belongs to everyone, and states that a “visceral commitment to include Black artists, audience, artist managers and administrators in their business plan” will be essential to the long-term survival of any orchestra.

Can the arts world fight systemic racism in a real way instead of resorting to tokenism?, Zainub Verjee, June 2020

Zainub Verjee provides an overview of the Canadian arts world, citing several examples from across the country of various artistic responses to social movements. She points out that these struggles are “wiped out of the public memory”, and that the motivations behind diversity are business related. Verjee questions whether the current climate will be enough to begin a commitment to fighting systemic racism on an ongoing basis, or if this crisis will join the others as tokenistic responses.

I’m tired., Andrew Adridge, July 2020

Andrew Adridge, a Toronto-based Guyanese-Canadian baritone writes a vulnerable work sharing his perspective as a Black performer in the classical music industry. He asks members of this community to start to speak out and advocate for Black and Indigenous people. While Canada has a multicultural population, Adridge notes that nothing else has been done by us as a country to prove we are a multicultural country.

REMOTE | Andrew Adridge ‘The Way The Industry Is Currently Structured, I Have No Business Hoping To Be In It’, Michael Zatharus-Cook, June 2020

Michael Zarathus-Cook sits down with baritone Andrew Adridge to discuss the current #BlackLivesMatter movement and changes that need to happen in the performing arts community. Adridge states that the lack on accountability being taken in Canada leads to what he calls “Performance Representation”. He envisions “Authentic Representation”, where “an underrepresented person can actualize a path to belonging”. Adridge explains that the classical music industry plays a role in the #BlackLivesMatter movement, which is a problem beyond just law enforcement.

Art is integral to Black Lives Matter: a conversation with Dr. Kristin Moriah, Nathan Gallagher, June 2020

Nathan Gallagher speaks with English professor Dr. Kristin Moriah to discuss the role of art as a catalyst for social change. Focusing on Black Lives Matter- Toronto, Moriah notes that several of their founding members are arts practitioners and that one of their first actions to attract attention was a piece of performance art- when they temporarily stopped Justin Trudeau’s float at the Toronto Pride Parade. She comments that art and literature provide a different element of understanding to people, and that engaging with Black art can help deepen the insights of those who don’t comprehend the Black experience.

Why we need Black and Indigenous leadership at Canada’s top museums now more than ever, Syrus Marcus Ware and Sean O’Neill, June 2020

Syrus Marcus Ware and Sean O’Neill call for urgent change within management in arts organizations. After the recent #BlackOutTuesday campaign, several people have spoken out about the racism they experienced at these organizations. Both Ware and O’Neill advocate for structural change within these organizations to begin to combat the racism imbedded within them. Ware notes that it is only in the moments of unrest that museums choose to engage with Black artists, and thinks that including Black and Indigenous voices in management as well as regularly programmed artists will increase the excellency of the work featured.