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ArtsBoost Fundamentals of Digital Marketing & Fundraising on-demand course

We are excited to announce the launch of the ArtsBoost Fundamentals of Digital Marketing & Fundraising on-demand course!
This free course covers fundamental concepts of digital marketing and fundraising for the arts. It presents a high-level view of what arts administrators need to consider when creating digital plans. You’ll learn relevant strategic principles across the main set of digital tools at your disposal, including: search marketing, digital advertising, websites and apps, email and messaging, and social media & content. Understand the basics of how digital channels and tactics contribute to marketing and fundraising in the arts, with instructor Tim Dolan of Kickframe.
You can also complement your learning by revisiting these webinars:

ArtsBoost, a project of The Arts Firm is a platform dedicated to modern skills developments for the arts. Project Partners are: Orchestras Canada, Canadian Dance Assembly (CDA), Professional Association of Canadian Theatres, CAPACOA and Association for Opera in Canada.
This project is made possible with generous funding from the Canada Council for the Arts | Conseil des arts du Canada
Canada council for the arts logo

Comparative Report 2020-21

 

Summaries by Budget Size and Regions  

Each year, Orchestras Canada collects financial and audience information from member orchestras and produces a Comparative Report. This Report is shared among participating orchestras and used for advocacy and ongoing research.  The 2020-21 Comparative Report contains information from 73 orchestras, including all member orchestras with budgets over $1.5 million, and almost all orchestras which historically have budgets over $50,000. 

The summaries are compiled using information in the Comparative Report. They provide an overview of the Canadian orchestra industry for the 2020-21, consolidated by budget size and by regions. 

Percentages are calculated in two ways: 1) based on the aggregate totals, and 2) “averages-of-percentages” using the individually calculated percentages for each of the 73 participating orchestra. The “average-of-percentages” approach is useful when considering relatively small samples of organizations of disparate size and scope, especially in the Summary by Regions. Percentages based on the aggregate totals are useful when considering larger samplings. We find both sets of percentages useful. 

We continue to report “Cost per audience contact” (CPAC) calculations in the Summaries, at the bottom of each column. Given the impact of the pandemic on orchestra activities, the value of this calculation is questionable. That said: this tool may be of interest to individual organizations for assessing business efficiency compared to other orchestras.

 

Summaries of Summaries: 2018-19 to 2020-21 by Budget Size and Regions   

COVID-19’s dramatic impact on orchestras began in March 2020 with the shutting down of performance venues. Despite the quick pivot to various forms of online presentations, the 2019-20 financial and attendance numbers came in well below results from the 2018-19 season.    

2020-21 was a fully COVID-affected season. The vast majority of orchestras pivoted to online activity almost exclusively. Consequently the 2018-19 aggregate live audience of 2,843,000 collapsed to 53,000 in 2020-21; a drop of 98%!      

As a companion to these documents, here are two Summaries of Summaries: by Budget and by Regions. They contain quickly absorbable numbers for 2018-19, 2019-20 and 2020-21. Percentages of change relate only to 2018-19 and 2020-21 (2019-20 was only a halfway-house.)   

72 orchestras routinely participate in Comparative Report process. In 2020-21, a new participant came on board; a mid-sized operation, near the median point in the detailed Report. It was easier to include this orchestra in summary calculations rather than exclude. Hence the Summaries of Summaries show 73 orchestras for 2020-21. 

We continue to retain Budget categories that we have always used: over $5 million; between $1 million and $5 million, etc. In the Summary of Summaries – Budget Size, observe the “Number of orchestras” line across the top. This quickly highlights the dramatic drop in budget sizes right across the board.  

Historically, orchestras’ budgets are fairly close-to-balanced. This was NOT so in 2020-21. Nationally, Revenue outstripped Expenses by 12%. (A reminder: for purposes of comparative reporting we calculate “budget size” as the average of total revenues and total expenses for each orchestra.)      

It’s fair to say: in 2018-19 there wasn’t much Canadian orchestra online performance activity – at least, not enough for us to try and keep track. In the spring of 2020, we observed a huge “online” burst. We tried to collect numbers from you, but were hard pressed to define appropriate parameters for tabulation. This is why the report shows online numbers for 2019-20 as “Unverified”.  By 2020-21 we were more up to speed. However the “% Changes” in this section should only be interpreted as rough estimates. At best, these percentages only indicate significant growth, year to year.     

We expect readers will find these two Summaries of Summaries fascinating. In all the years that we have been preparing the present iteration of the Comparative Report, we never expected to see numbers like this. We commend these documents to you for vigorous discussion in your organization.  

There is one overarching reality in all these numbers that should not (dare we say must not) be ignored. Orchestras in Canada are continuing to function thanks to direct generous intervention by governments at many levels.  For recipient organizations, appropriate and meaningful acknowledgement and thanks is mandatory politeness at the very least, not to mention political astuteness.     

The future 

If you are part of an orchestral organization, you will be reading this halfway through your 2021-22 season (or later). A year ago, none of us had heard of Omicron. Today, it’s part of everyday conversation. Our COVID troubles are far from over; but more concerts are occurring in concert halls than this time last year, and we can hope.  

We look forward to collecting results for this present season starting in October of 2022. We suspect that the 3-year Summaries of Summaries will grow to a 4-year report; and we have hopes for a 5th year that looks something like 2018-19.  

General disclaimer 

We produce these Summaries using straightforward information and commonly accepted definitions, avoiding subjective judgments as much as possible. The accuracy of the Summaries is dependent primarily on the accuracy of information provided by the 73 participating orchestras, followed by accurate transfer of information to the master spreadsheets. If you note significant errors, please let us know. 

Respectfully submitted
Stephen Smith (Statistician, Orchestras Canada)
February 2022 

94% of Canadian orchestras have tried digital… Now what?

Orchestras Canada has engaged member orchestras in three digital surveys since the fall of 2018.  Have you ever changed! 

In 2018, survey respondents at sixty orchestras sensed the potential (and pressure) to engage in digital, but most articulated the sheer difficulty of prioritizing the work, and then getting started.  

Along came the pandemic: orchestras either went digital or went silent. Despite the challenges, orchestras persevered with much ingenuity (and no lack of stress). Our 2020 digital survey focused on these early pandemic-era digital innovations, documenting the shifts and questions associated with digital programming. Fifty-seven orchestras participated, providing a robust perspective on the experiments then underway. 

With the evolution in public health contexts and orchestras’ pandemic responses, we undertook a third iteration of the survey in August-September 2021.  This year, 65 orchestras of all sizes across Canada responded. Here are a few key findings: 

1- Almost all (94%) respondents reported having tried one or more new digital initiatives, a jump from 84% in 2020.  Orchestras tried an impressive range of initiatives, ranging from full concerts to short excerpts, educational programming, and more. 

it’s exciting to see Canadian orchestras taking the plunge – while driven by the pandemic, the use of digital as a medium has long been a hot topic that now is coupled with the digital migration of an audience willing/needing to come with us. – Mark Turner, Executive Director of Saskatoon Symphony Orchestra

2- Orchestras remain focused on audience connection and creating opportunities for musicians through digital: consistent with 2020 results, these were the top two priorities identified by 2021 survey respondents. 

Digital content is a great way for anyone to connect with you at anytime, anywhere — and for you to connect with anyone. SPO released byte-sized, individual servings of great music on YouTube, freely through 2020/2021.  Easy to consume, easy to analyze, and so appreciated by every performer, composer, and content creator who had their unique moment to shine. – Devin Scott, Executive Director of Scarborough Philharmonic

The use of digital media […] facilitates two-way communication in order to hear more precisely what our audience wants to tell us. Thanks to this ongoing conversation between the growing audience and the Orchestra, we will be able to adjust our concert offerings. – Orchestre symphonique de Longueuil 

3- “Hybrid” is the name of the game this season: A majority (69%) of orchestras are planning a hybrid (digital and in-person) season for 2021-22. Once halls return to full capacity audiences, 45.9% of orchestras plan to continue some of the digital activity they’re doing; about 18% total plan to continue all of (16.4%) or more than (1.6%) their current digital activity; 26% are still uncertain, and roughly 10% plan no digital activity.  

4- Orchestras see opportunity in digital — but are uncertain about what role it will play post-pandemic. In 2020, respondents highlighted the need for technical skills training. In 2021, respondents still cited the need for technical training, but even more underlined the need for high-level strategic guidance (including strategies to determine an ideal balance of digital and in-person programming, and ways of better integrating digital development with organizational mission).  

Although the learning curve to produce digital content was, and remains, steep, orchestras may be moving out of crisis response mode and turning their attention instead to the role digital might play in a post-pandemic future. Still, more support is needed. 

Streaming is here to stay for the SSO, and I hope for all Canadian orchestras. It answers one of the major questions of accessibility that we’ve been facing for years – I think now the struggle becomes fine-tuning the balance of hybrid…what works for the live audience may not be as meaningful on camera, and vice versa! Streaming is consumed in a different way, so building programming that has an impact on both forms of consumption will be a creative challenge that will make our art form stronger. – Mark Turner, Executive Director of Saskatoon Symphony Orchestra 

5- For professional orchestras, the temporary COVID-19 labour agreements were key enablers of digital experimentation: A few respondents reflected on the nature of labour agreements with the Canadian Federation of Musicians: what was available during the pandemic, and what might evolve once capacity restrictions have been lifted. Clearly, the temporary CFM COVID-19 Agreement enabled a number of orchestras to engage in digital content capture and sharing.   

6- Digital does not pay for itself: when asked about their budget for digital initiatives in the 2021-22 season, over one-quarter of respondents selected “No budget for this”! Overwhelmingly, those who are not planning to sustain digital activity cited financial barriers and not enough human resources or time as the biggest factors in their decision to forgo digital.  

In 2018, we reported that survey respondents were “skeptical of the value of digital technology when compared to the cost, time and effort. There was a feeling of having to acquire a lot of knowledge quickly in order to be where we should in terms of digital literacy.” Skepticism about direct and immediate return on investment seems well warranted – the Future of the Digital Orchestra research (commissioned by OC, funded by the Canada Council’s Digital Strategy Fund and undertaken by The Arts Firm in collaboration with the CFM and OCSM) demonstrated that online programming generated roughly 5-10% of the revenue of ticketed live performances.  

7- Advocacy implications: 

Digital doesn’t cover costs and research is showing that audiences are not returning to halls quickly enough, even as capacity restrictions are lifted. What support do orchestras need? 

I think our funders need to strategize how to reflect that in funding models – it is happening and will continue to evolve, but it’s crucial for all levels of support to understand the infrastructure, staffing, creative and artistic costs that we face. Significant investment will grow jobs, accessibility, profile, and result in fascinating programming that I can’t wait to watch.  

 

You can view the full results in aggregate, anonymized, at the links below: 

Survey Results – All Orchestras

Survey Results – Small Budget Orchestras (Annual revenues under $500,000) 

Survey Results – Youth Orchestras 

Survey Results – Catalyst Orchestras (Annual revenues under $4 Million, but greater than $500,000) 

Survey Results – Institutions (Annual revenues greater than $4 Million) 

Evaluation for Events and Performances: A Creative Tool for Responsive Recovery and Resilient Growth

By Fanny Martin

Image of Fanny MartinAs we’re slowly coming back to live performances, orchestras have a fantastic opportunity to embed evaluation into the way they work to engage, observe, listen and spot the seeds for change that will make them more resilient, responsive and relevant. 

Art of Festivals is a creative company specialised in strategic production to bring more art into everyday life and more life into the arts sector. We’ve worked with many professional ensembles, music training programmes, community music organisations and participatory projects in Canada and Europe, and we contributed to Orchestras Canada’s Resilient Orchestras Ontario programme by creating bespoke tools and frameworks adapted to the needs of regional & community-led orchestras. 

We’re sharing here a simple evaluation methodology to collect evidence about audience behaviour at events and performances, help you support new directions in programming and marketing, engage deeper with all stakeholders and amplify your shared core values. 

 

A. What is evaluation? 

Evaluation is a creative practice that feeds into all dimensions of an arts organisation: artistic programming, operations, governance, stakeholder engagement, financial management. 

It opens opportunities for dialogue with artists, audiences, partners and funders; and generates information to support essential organizational functions such as programming, advocacy and strategic planning.   

BetterEvaluation—a website dedicated to improving evaluation practice and theory—defines evaluation, in its broadest sense, as “any systematic process to judge merit, worth or significance by combining evidence and values”. 

Evaluation specialists have developed many methods and processes adapted to different scales, purposes and resources. This array of choices—sometimes heavily theoretical—can feel intimidating, especially if we’re already short on time and people. We may also get worried about unearthing conflict, disappointment or shortcomings that could compromise our relationship with funders and partners. 

To get beyond the jargon and confusion, it’s useful to reframe evaluation as, simply, a process of reflective observation that’s only truly effective when it’s designed and implemented at your own scale and pace. So if you’re starting your evaluation journey, you just need to keep three principles in mind: 

  • start small: by using simple methods, you’ll have more flexibility to adapt them to circumstances and improve them as you learn;  
  • be curious: ask open questions, listen actively and observe keenly to get behind the obvious and understand what people really get—or want to get—from your offering;  
  • and keep going: this is the “systematic” part of the evaluation process, which simply means that you should follow the same method from start to end, again and again, to get the compounded evidence you need to base sound decisions upon. 

 

B. What are we evaluating?   

In “evaluation”, there is “value”—and what we’re really talking about here is assessing the presence, quality or intensity of values.

Values, as defined by UK-based social change consultancy Common Cause, are 

“…  the principles or standards that we each carry through our lives and that guide and inform our thoughts, attitudes and actions. They influence, and are influenced by, our experience of the society in which we each live. Our values help determine what is important to us and shape how we interact with other people and the more-than-human world.

When you’re thinking about programming, marketing, interacting with players, audiences and partners, which principles are guiding your decisions? What do you want people to do, think and feel as a result of what you’re offering to them?”

 

In the Evaluation Grid template provided below, we worked on the following values: 

CONNECTION → Are we creating community? Are people feeling closer to each other?

CURIOSITY → Are people stimulated? Are they learning, discovering new things, open to new people? 

CONTENTMENT → Are people satisfied? Are they getting what they expected—and perhaps even more? 

 

C. Which values do you want to amplify?   

In Emergent Strategy, social justice facilitator and writer adrienne maree brown states as one of her guiding principles: “what we pay attention to grows”. Just like a magnifying glass focuses the sun’s energy to create heat and light a fire, evaluation can amplify the shared values we want to activate. 

Another key principle from Emergent Strategy is the notion of scale: “how we are at the small scale is how we are at the large scale”. The evaluation process itself can contribute to this amplification: the core values—such as community, participation, beauty, curiosity, courage…—that you want to observe in your stakeholders’ actions and reactions can also guide the way questions are developed, how observers are trained, and how results are analysed. In other words, everything matters in your process. Values are amplified by making time and space for people to co-create a meaningful framework, by ensuring that all interactions are positive and intentional, by being attentive to tension, conflict, resistance… 

 

D. How to develop and apply your own Evaluation Grid? 

To develop your evaluation framework, you will need to: 

  • Establish when and where the evaluation will take place 
  • Confirm who will carry out the evaluation (and train them) 
  • Define why you are conducting this evaluation by co-developing your core values

The template Evaluation Guide below can be customised as a reference document for your staff, board and volunteers, with pointers on what to pay attention to and which questions to ask to elicit the responses that will feed into your analysis. 

A key principle in evaluation is to only collect information that you can use. Instead of lengthy and intrusive on-site questionnaires or online surveys, this simple tool will: 

  • Actively engage your players, volunteers, board members, youth musicians’ parents… into the life of the orchestra; 
  • Create a platform for interacting with audience members that observers can use in the ways they are most comfortable with;  
  • Enable you to collect evidence linked to the shared values you want to amplify. 

 

E. How to analyse and utilise results? 

To collect responses, you could ask observers to hand in their printed Evaluation Grid after each event (making sure to write in a legible manner!), or to fill in an online form as soon as possible.  

Once all responses are collated, they could form the basis for a facilitated discussion. A few questions to get started could be: 

  • What surprises you most? 
  • What can be addressed immediately? 
  • What needs to be tackled on a longer-term scale? 
  • What should the next observation pay more attention to? 
  • How can the Grid or the observation methods be improved? 

→ Evaluation – or reflective observation – is an effective tool to enhance change, understand resistance and amplify your core values. Start small, make it fun and participatory, celebrate results and keep going!

Templates:

Observation Form

Observation Guide

Get Ready for the Ontario Not-for-Profit Corporations Act (ONCA)

Ontario’s Not-for-profit Corporations Act (ONCA) was proclaimed on October 19th, 2021. Nonprofits will have 3 years to update their bylaws and letters patent to comply with ONCA. On November 12, 2021, Orchestras Canada welcomed Benjamin Miller, a staff lawyer on the Nonprofit Law Ontario project of Community Legal Education Ontario (CLEO), for a webinar that walked us through what is new in the ONCA, steps nonprofits need to take to transition to the ONCA, and how CLEO’s free resources can help you create ONCA compliant bylaws from scratch or adapt your current bylaws.  

To learn more about the ONCA visit nonprofitlaw.cleo.on.ca   

Resources: 

Recording of the webinar

Benjamin Miller’s Powerpoint

Community Legal Education Ontario (CLEO) resources to help in your transition to the ONCA:

Benjamin Miller (he/him) is a staff lawyer on the Nonprofit Law Ontario project of Community Legal Education Ontario (CLEO) where he focused on nonprofit and charity law and policy. Over the past 4 years at CLEO, Benjamin has answered hundreds of nonprofit law questions and developed an online interactive bylaw builder for the ONCA. Benjamin also works at the Ontario Nonprofit Network and has worked at the Canada Revenue Agency in the past. Benjamin holds a JD and MPP from the University of Toronto and an MA in political theory from the University of Ottawa. 

Demystifying Program Evaluation

Program evaluation: it’s important, funders and donors want it… and if you’re doing it on your own, it can be intimidating!  At Orchestras Canada, we’ve committed to getting better at evaluation – and we’d like to take you along for the ride.

On Wednesday, December 8th, 2021, Orchestras Canada hosted a webinar titled Demystifying Program Evaluation as part of its Festival of Learning – Resilient Ontario Orchestras*. This session was presented by Jamie Gamble, Principal of Imprint Consulting and evaluation advisor to the Resilient Ontario Orchestras project. In this webinar, we learn together from Jamie, AND we have a candid discussion about how we’ve tried to embed evaluation throughout the Resilient Ontario Orchestras project, what we’ve learned so far, and how we’re applying our learnings to shape future member service and support.  

Resources: 

Recording of the session

Powerpoint presentation 

An evaluation resource list compiled by Jamie Gamble here.

 

*The Resilient Ontario Orchestras project is designed to help Ontario’s smaller budget orchestras and youth orchestras (groups with annual, pre-pandemic revenues under $500,000) access customized consulting help and resources to help them plan for a sustainable return to public performances as soon as it’s viable.

This project is made possible with generous support from the Ontario Trillium Foundation. The Ontario Trillium Foundation (OTF) is an agency of the Government of Ontario, and one of Canada’s leading granting foundations. OTF awarded $108 million to 629 projects last year to build healthy and vibrant communities in Ontario.

Relationship Building in Volunteer Engagement

Dedicated volunteers are at the heart of many small budget and youth orchestras. How can your orchestra engage them on terms that are clear and mutually enriching?

On Wednesday, December 1st, 2021, Orchestras Canada hosted a webinar titled Relationship Building in Volunteer Engagement as part of its Festival of Learning – Resilient Ontario Orchestras*. Natasha Bood (Executive Director at Editors Canada, with over 16 years’ experience working in not-for-profit arts organizations) and Daniel McConnachie (President of Orchestra Kingston) presented on how they’re embedding relationship building into the community orchestra’s approach to volunteer engagement.

Resources: 

Recording of the session

Powerpoint presentation 

A tip sheet for Relationship Building in Volunteer Engagement is available here.

 

*The Resilient Ontario Orchestras project is designed to help Ontario’s smaller budget orchestras and youth orchestras (groups with annual, pre-pandemic revenues under $500,000) access customized consulting help and resources to help them plan for a sustainable return to public performances as soon as it’s viable.

This project is made possible with generous support from the Ontario Trillium Foundation. The Ontario Trillium Foundation (OTF) is an agency of the Government of Ontario, and one of Canada’s leading granting foundations. OTF awarded $108 million to 629 projects last year to build healthy and vibrant communities in Ontario.

Digital Tactics for Smaller Budget Groups

Digital is on the rise… but what should your orchestra know before you dive into a digital artistic project?

On Wednesday, November 24th, 2021, Orchestras Canada hosted a webinar titled Digital Tactics for Smaller Budget Groups as part of its Festival of Learning – Resilient Ontario Orchestras*. Alex Clark (Founder at Aseosa Productions / Video Director and Associate Producer for the Vancouver Symphony’s 2020-21 digital season) presented on budget, expectations, and planning considerations when producing digital content on a shoestring.

Resources: 

Recording of the session

Powerpoint presentation 

Alex Clark’s expanded presentation notes are available here.  

The sample documents referenced in Alex’s score-calling demonstration are available in this folder. 

 

*The Resilient Ontario Orchestras project is designed to help Ontario’s smaller budget orchestras and youth orchestras (groups with annual, pre-pandemic revenues under $500,000) access customized consulting help and resources to help them plan for a sustainable return to public performances as soon as it’s viable.

This project is made possible with generous support from the Ontario Trillium Foundation. The Ontario Trillium Foundation (OTF) is an agency of the Government of Ontario, and one of Canada’s leading granting foundations. OTF awarded $108 million to 629 projects last year to build healthy and vibrant communities in Ontario.

Authentic Fundraising Strategies

Fundraising… there are many ways to do it, and you’re probably trying to accomplish it off the side of your desk! But which strategies will offer the most return on investment for your smaller budget or youth orchestra, with limited time and resources?

On Wednesday, November 17th, 2021, Orchestras Canada hosted a webinar titled Authentic Fundraising Strategies as part of its Festival of Learning – Resilient Ontario Orchestras*. This presentation from Dane Bland (Certified Fundraising Executive), featuring a case study with representatives of Whispering River Music, will help you identify the fundraising opportunities for your orchestra to focus on that will help build durable, consistent solutions to develop relationships with donors, avoid common fundraising traps & pitfalls, and gain confidence to “make the ask.”

Resources: 

Recording of the session

Powerpoint presentation 

Dane Bland’s “Key Takeaways – Authentic Fundraising” resource is available here. 

 

*The Resilient Ontario Orchestras project is designed to help Ontario’s smaller budget orchestras and youth orchestras (groups with annual, pre-pandemic revenues under $500,000) access customized consulting help and resources to help them plan for a sustainable return to public performances as soon as it’s viable.

This project is made possible with generous support from the Ontario Trillium Foundation. The Ontario Trillium Foundation (OTF) is an agency of the Government of Ontario, and one of Canada’s leading granting foundations. OTF awarded $108 million to 629 projects last year to build healthy and vibrant communities in Ontario.

Planning Your Marketing Communications Playbook

If live performances are the “peaks” in a year of an orchestra, how can we keep audiences engaged between them? How do we re-engage or find new audiences in a continuously shifting performance landscape?

On Wednesday, November 10th, 2021, Orchestras Canada hosted a webinar titled Planning Your Marketing Communications Playbook as part of its Festival of Learning – Resilient Ontario Orchestras*. Nicole Fowler (Strategy, Planning & Integrated Communications Consultant) along with Cathy Redsell and Julie Dunn (Board members at Ottawa Chamber Orchestra) presented on how Ottawa Chamber Orchestra has been bringing their marketing and communications strategy into the digital age, and the planning tools they’re using to get (and stay) in front of their audience.

Resources: 

Recording of the session

Powerpoint presentation 

Nicole Fowler’s “Promoting a performance & content engagement tips” resource is available here.

 

*The Resilient Ontario Orchestras project is designed to help Ontario’s smaller budget orchestras and youth orchestras (groups with annual, pre-pandemic revenues under $500,000) access customized consulting help and resources to help them plan for a sustainable return to public performances as soon as it’s viable.

This project is made possible with generous support from the Ontario Trillium Foundation. The Ontario Trillium Foundation (OTF) is an agency of the Government of Ontario, and one of Canada’s leading granting foundations. OTF awarded $108 million to 629 projects last year to build healthy and vibrant communities in Ontario.