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Canadian Artists and Content Creators Economic Survey Report

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List of figures

List of tables

List of acronyms and abbreviations

AV
Audiovisual
CACCES
Canadian Artists and Content Creators Economic Survey
CERB
Canada Emergency Response Benefit
CESB
Canada Emergency Student Benefit
COVID-19
Coronavirus Disease of 2019
CRB
Canada Recovery Benefit
CRSB
Canada Recovery Sickness Benefit
EI
Employment insurance
LGBTQ2S+
Lesbian, Gay, Bisexual, Transgender, Queer or Questioning, and Two-Spirit

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Canadian Artists and Content Creators – Economic Survey Report [PDF version - 1.68 MB]

Key findings

This report highlights key results from the Canadian Artists and Content Creators Economic Survey (CACCES). The survey was designed to generate timely data on the challenges facing Canadian artists and content creators prior to and during the COVID-19 pandemic. CACCES, available online between May 10 and July 2, 2021, generated 4,747 valid responses.

Information was collected on the following areas: artistic field of practice, employment and income, creative work in the context of COVID-19, relationship to industry, international trade patterns, supports sought by artists, and demographic variables (for a full list of questions, see Appendix 1: Survey questions and results).

Respondents’ creative incomes are volatile and low

One quarter (25%) of respondents reported that their income from creative work could fluctuate by at least 100% from year to year (without taking the pandemic into consideration), and 60% of respondents reported that their income could fluctuate by at least 50% year to year.

Overall, 57% of survey respondents reported a total gross (pre-tax) income of under $40,000 in 2019 (this includes all income sources, including income from creative work and other sources).

Many respondents still rely on traditional income sources

Over one third (36%) of respondents reported generating income from some form of public showing or performance. This figure was higher for musical artists (56%) and performing artists like actors, dancers, and comedians (49%)—a pattern that laid the foundation for these fields to be particularly hard-hit by pandemic-related public health restrictions. The most common income sources included “analog” sources like public exhibits and physical sales. The least common sources were digital or passive forms of income generation, such as royalties and online paid downloads.

A majority of respondents are self-employed

Overall, self-employment plays a large role in how artists generate income, with a majority (64%) of survey respondents reporting some form of self-employment, whether that was in their creative field, in a related field, or in a completely different field. Most artists and content creators reported being de facto entrepreneurs and working many hours doing all the planning, marketing, networking, and administrative work that that entails. Respondents to the survey spent an average of 15.5 hours per week doing this type of non-creative work.

About 41% of respondents reported working full-time in their creative occupation. This includes people who are both employed and self-employed. This means that the majority—almost 60%—of respondents are not working full-time in their creative field. They may be working part-time in their creative field and holding down full- or part-time jobs in other fields.

The pandemic hit some fields particularly hard

Overall, 62% of respondents reported some loss of creative income during the pandemic.

This figure varied widely across artistic fields. On the upper end, 83% of musical artists and 79% of performing artists reported a loss in creative income since the outbreak of the pandemic. On the lower end, 52% of visual artists, 45% of writers, and 42% of audiovisual (AV) directors/content creators reported a loss in creative income since the outbreak of the pandemic.

Government support has been crucial during the pandemic: 56% of respondents applied for federal emergency support (including Canada Emergency Response Benefit (CERB), Canada Emergency Student Benefit (CESB), Canada Recovery Benefit (CRB), Canada Recovery Sickness Benefit (CRSB), and temporary COVID-19 relief through EI).

Introduction

Survey background

The cultural industries were one of the sectors most impacted by the public health measures put in place as a response to the spread of COVID-19 in Canada beginning in March 2020. For many workers in the creative sector, the pandemic exacerbated challenges that they were already facing because of technological change, the precarity associated with gig work and self-employment, and the rising costs of living.

Cultural policymakers need data in order to better understand and address these issues. Two gaps were identified. First, artists and content creators tend to have complex employment patterns—working several jobs, often in the gig economy—and this complexity may not get captured in large-scale data-gathering tools like the Census. Second, there was a need to generate data quickly to better understand the ongoing impacts of the COVID-19 pandemic on artists and content creators across the country.

The Canadian Artists and Content Creators Economic Survey (CACCES) was a pilot project designed to fill these gaps in a flexible, timely manner. With the assistance of organizations representing a wide range of cultural industries, Canadian Heritage designed an online survey that would be open to all creative workers, including those who might operate beyond the traditional scope of government grants and contributions programs.

Methods

CACCES was available online from May 10 to July 2, 2021, in English and French. Canadian Heritage adopted a snowball sampling method that relied on participants distributing the survey through their own professional and personal networks. The department met with Canadian arts organizations to get feedback on the survey questions, and these organizations helped disseminate the survey among their membership. The survey was also open to creative workers who were not members of an arts organization. Information sessions and a social media communications plan helped raise awareness about the survey more broadly. This approach proved successful: in the span of six weeks, the survey yielded 4,747 valid responses.

Uses and limitations of the data

Because a snowball sampling approach was used, data from CACCES cannot be used to draw inferences about the entire population of Canadian artists. However, it does provide a snapshot of the challenges facing creative sector workers in Canada during the COVID-19 pandemic.

CACCES is designed to collect economic data that complements existing data sources, in particular Statistics Canada sources like the Cultural Satellite Account. The data generated by CACCES should be interpreted in conjunction with these other sources of information.

Participation

Participation in the survey was open to all artists and content creators over the age of 16 working and living in Canada. To take the survey, participants were asked to self-identify as belonging to one of five main groups: audiovisual directors and content creators, musical artists, performing artists, visual artists, and writers. There was substantive participation from each field, with visual artists (27.4%) and writers (24.6%) making up a slightly larger proportion of respondents (Figure 1).

Figure 1: Participation in the survey by field
Figure 1: Participation in the survey by field – text version
Participation in the survey by field Percentage of respondents
Audiovisual directors and content creators 12.6
Musical artists 18.2
Performing artists 24.6
Visual artists 27.4
Writers 17.1

The survey was designed to collect a wide range of demographic data to better understand the specific challenges facing equity-deserving groups. There was strong participation from artists across the country, as well as from different equity-deserving groups, including Indigenous Peoples, racialized communities, LGBTQ2S+ communities, deaf communities, persons with disabilities, and official language minority communities (Table 1).

Table 1: Participation of equity-deserving groups in survey
Group Percentage of respondents
Women 55.4%
Gender-diverse communities 7.1%
LGBTQ2S+ communities 21.3%
Indigenous Peoples 3.2%
Racialized communities 12.8%
Ethno-cultural communities 7.8%
Immigrants and refugees 8.3%
Religious minorities 3.7%
Deaf communities and persons with disabilities 12.2%
Official language minority communities 8.0%
Youth 5.7%
Seniors 11.7%
Those with low income 28.3%
Rural communities 9.0%
Remote and Northern communities 2.3%

Precarity and work arrangements

Income levels

The creative incomes of respondents were low and volatile. Overall, a majority (57%) of survey respondents reported a total gross (pre-tax) income of under $40,000 in 2019. The overall picture is a long-tailed distribution (Figure 2), with most respondents clustered at the lower end of the income scale and a handful of high earners at the other end of the scale. (Note: Percentages in the graph do not add to 100% because 8% of respondents replied “Prefer not to say” in response to the income question.)

Figure 2: Gross personal annual income
Figure 2: Gross personal annual income – text version
Income range Percentage of respondents
Under $9,999 13%
$10,000 to $19,999 15%
$20,000 to $39,999 28%
$40,000 to $59,999 17%
$60,000 to $79,999 9%
$80,000 to $99,999 5%
$100,000 to $124,999 3%
$125,000 to $149,000 1%
$150,000 to $199,999 0.7%
$200,000 and over 0.8%

While this long-tailed distribution remained consistent across all groups, it is worth highlighting that women and gender-diverse/non-binary respondents were more likely than men to report personal incomes under $40,000 per year and less likely to report higher income ($100,000 and over). Half of the respondents who identified as men reported an income under $40,000, compared with 59.3% of women and 72.4% of non-binary respondents (Figure 3). (Note: 250 respondents to the survey identified as gender diverse/non-binary.)

Figure 3: Gross personal annual income by gender
Figure 3: Gross personal annual income by gender – text version
Personal annual income range Man (percentage) Woman (percentage) Non-binary (percentage)
0 to $39,999 50.0% 59.3% 72.4%
$40,000 to $99,999 36.4% 28.3% 20.0%
$100,000 and over 7.7% 4.1% 0.8%

Income volatility

The survey points to a high degree of income volatility among respondents. One quarter (25.3%) of respondents indicated that their income from creative work typically fluctuates by at least 100% year to year without taking the pandemic into consideration (Figure 4).

Respondents from all creative fields suffer a high degree of income volatility. On the upper end, 60% of performing artists said that their creative income fluctuates by at least 50% or 100% year to year and, at the lower end, 46% of musical artists said that their creative income fluctuates by at least 50% or 100% year to year. These figures relate to income from creative work; the survey also indicates that most respondents do not rely solely on their creative income. (See section Employment patterns below.)

Figure 4: Change in levels of income from creative work year to year (pre-pandemic)
Figure 4: Change in levels of income from creative work year to year, pre-pandemic – text version
Income change Percentage of respondents
It stays about the same 18.2%
It can go up or down by at least 10% (tenth) 9.1%
It can go up or down by at least 25% (quarter) 19.8%
It can go up or down by at least 50% (half) 27.6%
It can go up or down by at least 100% (double) 25.3%

A mix of creative and non-creative income sources

Most respondents do not rely on their creative pursuits as a primary income source. Even prior to the onset of the COVID-19 pandemic, a majority of respondents (56.8%) were earning less than 50% of their personal income from their creative work (Figure 5). During the pandemic, in 2021, 73% of respondents were earning less than 50% of their personal income from their creative work.

Figure 5: Proportion of income from creative work, prior to and during the COVID-19 pandemic
Figure 5: Proportion of income from creative work, prior to and during the COVID-19 pandemic – text version
Proportion of income from creative work Percentage pre-pandemic Percentage during the pandemic
None 14.1% 26.2%
Less than 25% 30.5% 37.9%
25% to 49% 12.2% 8.9%
50% to 74% 9.3% 5.2%
75% to 99% 11.0% 5.5%
100% 23.0% 16.3%

Income sources from creative work

Over one third (36%) of respondents reported generating income from some form of public showing or performance. This figure was higher for musical artists (56%) and performing artists (49%)—a pattern that laid the foundation for these fields to be particularly hard-hit by pandemic-related public health measures.

Table 2: Sources of income by field
Source of income AV director/content creator Musical artist Performing artist Visual artist Writer Total responses
Public display or in-person performance of work 90 482 572 391 189 1724
Salaried or hourly paid job in this line of work 202 310 561 336 171 1580
Direct commissioning 149 185 237 601 190 1362
Physical sale of works 47 257 77 671 279 1331
Royalties and licensing 118 331 312 186 280 1227
Online paid download 61 239 69 104 123 596
None of the above 140 67 112 118 156 593
Sale of branded items or merchandise 43 142 53 150 29 417

The most common income sources included “analog” sources like public showings and physical sales. The least common sources were digital or passive forms of income generation, such as royalties and online paid downloads.

Employment patterns

A primary aim of the survey was to capture the complexity of creative workers’ employment patterns. Respondents were asked to select the options that best described their employment status on December 1, 2019 (pre-pandemic), whether full- or part-time, and whether in their creative field, a related field, or a completely different field. Respondents could select multiple options. For instance, a respondent whose primary creative practice involves landscape photography but who also runs a business as a portrait photographer could choose “self-employed part-time in my field” and “self-employed part-time in a related field.”

Figure 6: Employment type
Figure 6: Employment type – text version
Employment type Full time Part time
Self-employed in my field 1120 1017
Self-employed in a related field 176 702
Self-employed in a different field 81 346
Employed in my field 310 580
Employed in a related field 481 445
Employed in a different field 377 374

About 41% of respondents to this question reported working full-time in their creative occupation (Figure 6). This includes people who are both employed and self-employed. This means that the majority—almost 60%—of respondents are not working full-time in their creative field. They may be working part-time in their creative field and holding down full- or part-time jobs in other fields.

Overall, self-employment plays a large role in how respondents generate income, with a majority (64%) of respondents reporting some form of self-employment, whether that is in their creative field, in a related field, or in a completely different field. This means that most respondents are de facto entrepreneurs and work several hours doing all the planning, marketing, networking, and administrative work that that entails. In fact, in another question, the survey found that respondents spent an average of 15.5 hours per week doing this type of non-creative or administrative work.

As one respondent explained in the survey’s final, open-ended question:

We often work more than one running gig at a time, stringing a mix of administrative and artistic work together. Since most groups use contract work, most of us are self-employed and don’t have the security that other employment can sometimes offer. We often need to be part accountant, performer, administrator, and salesperson all at once, often without access to health benefits. The COVID-19 pandemic highlighted how self-employed people are left out of the social safety net in many ways. It can be hard to predict what yearly income may be and it always changes.

Sources of support

Industry intermediaries

Overall, the survey indicates that respondents’ use of industry intermediaries (e.g. unions, managers, online platforms, rights collectives) and direct financial support (e.g. government grants, family support, crowdfunding) does not vary significantly across disciplines. There was a more notable pattern in the behaviour of one group: low-participation creative workers, which we define here as those who earned less than 25% of their income from creative work (pre-pandemic). This group makes up the majority of those not using intermediaries or accessing financial support.

The survey asked respondents which intermediaries they use to produce or disseminate their work (Table 3). The industry intermediaries most frequently mentioned focus on the dissemination side rather than the production side of creative work. For instance, “online platforms and streaming services” and “venues” were the first and third most cited industry intermediaries, respectively.

Table 3: Industry intermediaries by field
Intermediary AV director/content creator Musical artist Performing artist Visual artist Writer Total
Online platforms and streaming services 197 340 245 290 159 1231
Festivals 130 276 399 175 139 1119
Venues (e.g. galleries, theatres, clubs) 60 306 340 268 73 1047
Professional unions, guilds, or associations 62 176 338 84 134 794
None: I work completely independently 97 112 108 339 121 777
Arts presenters 31 233 323 72 59 718
Independent managers, agents, or publicists 68 163 322 55 92 700
Audiovisual production companies or studios 163 144 142 42 64 555
Publishers or publishing firms (e.g. books, newspapers) 34 43 33 93 336 539
Other 47 76 102 132 108 465
Artist-run centres 34 48 114 226 36 458
Creative hubs or cooperatives 49 81 148 116 63 457
Professional arts training institutions 31 108 197 62 28 426
Rights collectives 24 125 29 18 71 267
Music companies or record labels 21 143 20 12 5 201
Music publishers 17 119 8 6 6 156
Art dealers 3 7 3 130 10 153

About 16% of respondents (777 respondents) claimed that they did not use any industry intermediaries, instead working completely independently. Of these independent respondents, a majority (60.6%) can be classified as low-participation creatives (those earning less than 25% of their income from creative work). Low-participation respondents may be in this position by choice or because they are still early in their careers; in general, it may be difficult for this group to justify the additional costs associated with industry intermediaries.

Additional financial support

When asked what areas of direct additional financial support they had accessed over the past five years, about 30% of respondents (1453 people) said they had accessed “none of the above” (Figure 7). The most prevalent single support was family income or support. But if all levels of government (federal, provincial, and municipal) are considered together, government grants rank as the most prevalent support, with about 44% of responses highlighting government grants as a source of financial support.

Figure 7: Direct additional financial support
Figure 7: Direct additional financial support – text version
Source of additional financial support Number of responses
None of the above 1453
Additional family income or support 1174
Provincial government grants 877
Awards, grants, or fellowships from foundations etc. 761
Federal government grants 718
Educational or training institutions 605
Municipal government grants 474
Investment income 462
Artist residencies 428
Crowdfunding or online patronage 390
Mutual aid (others in the culture sector) 264
Loans from banks or private lenders 222
Philanthropy (single patron) 194
Sponsorships or partnerships with brands 183

Areas of support sought

Finally, respondents were asked what areas of support they had benefitted from in the past and/or would like to benefit from in the future. Largely, respondents expressed a desire for support in building industry connections. This included networking opportunities, finding projects and/or gigs, and promotion and marketing (Figure 8).

The largest gaps between past and desired support included social service supports, tools for ensuring discoverability, and resources for applying for grants, fellowships, or other career development opportunities. The survey was conducted during the summer of 2021 in the midst of the pandemic—a context that highlighted the need for social service supports. In the final open-ended question, one respondent described receiving the CERB as the only time in their career when they had experienced some degree of financial stability. Over 100 respondents specifically mentioned a desire for some form of universal basic income (UBI).

Figure 8: Areas of support, past and future
Figure 8: Areas of support, past and future – text version
Area of support Past Future
Networking opportunities: personal introductions 2594 2760
Networking opportunities: collective initiatives, events, conferences, etc. 2251 2523
Finding projects and/or gigs 2167 2669
Knowledge/expertise in my creative field 2072 2421
Training and skills development 2046 2294
Promotion and marketing 1645 2535
Applications for grants, fellowships, or other career development opportunities 1379 2514
Knowledge sharing and advocacy for the sector 1161 2046
Tools for ensuring discoverability 981 2293
Facilitating payment or collection of royalties 938 1887
Logistics and organization 814 1582
Adapting my creative work to context of COVID-19 787 1554
Market knowledge and data analytics 712 1661
Social service supports for artists and content creators (e.g. health, legal, taxes, caregiving arrangements, etc.) 671 2152

Impact of COVID-19

Impact on income and time spent on creative work, overall

Overall, the survey suggests that the COVID-19 pandemic resulted in a loss of income from creative work for about two thirds (62.2%) of respondents. A smaller number of survey respondents reported an increase in arts-related income since the pandemic (15.7%), and about 22.1% of respondents reported no significant change (Figure 9).

Figure 9: Impact of pandemic on creative income
Figure 9: Impact of pandemic on creative income – text version
Impact of pandemic on creative income Number of responses Percentage
100% less income 704 17.6%
At least 50% less income 1066 26.6%
25% to 49% less income 395 9.9%
10% to 24% less income 324 8.1%
About the same amount of income 885 22.1%
10% to 24% more income 216 5.4%
25% to 49% more income 115 2.9%
At least 50% more income 136 3.4%
At least 100% (double) more income 162 4.0%

The pandemic’s effect on time spent on creative work is less straightforward. About 18.1% of respondents reported no change in time spent on creative work during the pandemic, but otherwise there was a roughly even split between those reporting less time (40.3%) and those reporting more time (41.6%) being spent on creative work (Figure 10).

Figure 10: Impact of pandemic on time spent on creative work
Figure 10: Impact of pandemic on time spent on creative work – text version
Impact of pandemic on time spent on creative work Number of responses Percentage
100% less time 249 6.2%
At least 50% less time 785 19.5%
25% to 49% less time 302 7.5%
10% to 24% less time 277 6.9%
About the same amount of time 739 18.3%
10% to 24% more time 238 5.9%
25% to 49% more time 323 8.0%
At least 50% more time 502 12.4%
At least 100% (double) more time 618 15.3%

Impact on income and time spent on creative work, by gender

When it comes to the impact of the pandemic on either income or time spent on creative work, differences across gender are small. Women, who tend to shoulder a disproportionate share of domestic work, were slightly less likely than men to report either a decrease in time spent on creative work or income from creative work (Table 4 and Table 5). About 67% of men reported a drop in income since the pandemic, compared with 60.7% of women and 55.3% of gender diverse / non-binary respondents. Gender diverse/ non-binary respondents appeared to fare better than either men or women under the pandemic, in terms of time spent on creative work and income generated from creative work (Table 4 and Table 5). It is difficult to draw conclusions from these results, since the survey also indicates that women and gender diverse / non-binary creative workers tend to earn lower incomes than men outside of the context of the pandemic.

Table 4: Impact of pandemic on creative income by gender
- Gender diverse/non-binary Men Women
Less income since the pandemic 55.3% 67.0% 60.7%
About the same income 21.1% 20.4% 22.8%
More income since the pandemic 23.6% 12.6% 16.5%
Table 5: Impact of pandemic on time spent on creative work by gender
- Gender diverse/non-binary Men Women
Less time since the pandemic 37.2% 41.5% 39.9%
About the same amount of time 13.6% 19.5% 17.7%
More time since the pandemic 49.2% 39.0% 42.3%

Impact on income and time spent on creative work, by creative field

More significant patterns are apparent across creative fields. Overall, 62.2% of respondents reported some loss of income from creative work during the pandemic. But two fields experienced significantly higher incidence of lost creative income: musical artists (83.1% of whom reported less income) and performing artists (78.6% of whom reported less income) (Table 6). This is likely linked to the fact that artists in both these fields rely heavily on live performances as a source of income. A similar pattern is evident in the amount of time spent on creative work since the pandemic (Table 7).

Table 6: Impact of pandemic on creative income by field
- AV director/content creator Musical artist Performing artist Visual artist Writer Average all fields
Less income since the pandemic 41.9% 83.1% 78.6% 52.1% 44.7% 62.2%
About the same income 31.6% 10.8% 10.7% 26.5% 37.8% 22.1%
More income since the pandemic 26.5% 10.8% 10.6% 21.4% 17.5% 15.7%
Table 7: Impact of pandemic on time spent on creative work by field
- AV director/content creator Musical artist Performing artist Visual artist Writer Average all fields
Less time since the pandemic 19.4% 51.6% 62.8% 28.6% 25.7% 40.0%
About the same amount of time 22.0% 16.0% 10.3% 21.8% 24.7% 18.3%
More time since the pandemic 58.6% 32.4% 26.9% 49.6% 49.6% 41.7%

Post-pandemic plans

Overall, the number of respondents who planned on quitting their creative work was low, around 3.2% (Table 8). This figure likely underestimates the rate of exit from the cultural industries overall as it would not capture those who had already left their field at the time of the survey in May 2021, over one year into Canada’s pandemic-related health measures. Creative workers who were contemplating leaving the industry at that time might also have been less inclined to complete the survey. Worth noting is the finding that musical artists were more likely than creative workers in other fields to be making plans for adapting their creative work in a post-pandemic context (16.2% of musicians planned on adapting, versus 11.3% of respondents across all fields).

Table 8: Post-pandemic plans by field
Response AV director/content creator Musical artist Performing artist Visual artist Writer All fields
I plan to carry on with my creative work 65.1% 60.9% 56.1% 65.3% 72.3% 63.3%
I plan to explore new creative expressions, media or genres in my creative occupation 20.1% 15.1% 20.9% 18.3% 14.8% 18.0%
I plan to adapt my creative work to be presented differently (e.g. digital distribution) 9.2% 16.2% 11.6% 11.0% 7.8% 11.3%
I plan to explore a different creative occupation 3.1% 4.3% 6.5% 3.0% 3.2% 4.2%
I plan to quit my creative work 2.6% 3.5% 4.9% 2.4% 2.0% 3.2%

Despite the challenges of the COVID-19 pandemic, the vast majority (96.8%) of respondents planned to carry on their creative work in some form or another. Some of this can be attributed to the fact that most respondents do not rely on their creative work as their primary income source. Recall that pre-pandemic, 56.8% of respondents generated under half of their income from their creative work. During the pandemic, this figure jumped to 73% (Figure 5). The finding that most respondents plan on continuing their creative work could be read as celebration of artistic resilience but may also point to the fact that even under a “business as usual” scenario, creative work is not a reliable primary income source for most of the artists and content creators who responded to the survey.

Conclusions and next steps

As a pilot project, CACCES can be considered a success. With 4,747 valid responses, the response rate far exceeded the initial target of 1,000 responses. The survey managed to reach respondents outside the traditional scope of grants and contributions programs, including comedians, content creators, crafters, and low-participation creatives.

In general, the survey highlights several issues that creative workers, arts organizations, and other stakeholders have been grappling with for some time:

  1. Respondents’ incomes are low: 57% of respondents reported a total gross (pre-tax) income of under $40,000 in 2019, prior to the pandemic (this includes all income sources, including creative work and other sources).
  2. For survey respondents, income from creative work is volatile: 60% of respondents indicated that their creative income fluctuates by 50% to 100% year to year, without taking the pandemic into consideration.
  3. Many respondents had income sources aside from their creative practice: Only 41% of respondents reported working full-time in their creative occupation. This means that the majority—almost 60%—of respondents are not working full-time in their creative field. They may be working part-time in their creative field and holding down full- or part-time jobs in other fields.
  4. Respondents are highly entrepreneurial. A majority (64%) of respondents reported some form of self-employment.
  5. The survey indicated that economic outcomes vary widely for respondents working in different artistic fields. While most respondents (62%) reported some loss of creative income during the pandemic, this figure was much higher for musical artists (83%) and performing artists (79%).

These findings can be used to improve programs aimed at supporting the well-being and economic viability of Canada’s artists and content creators. Survey data is currently being used within Canadian Heritage to inform policy and program development. High-level results have been presented to external stakeholders to fill their own knowledge gaps, and this report broadens that data-sharing.

Appendix 1: Survey questions and results

To continue, please confirm: Are you 16 years of age or older? Yes / No

Question 1. From the list below, please indicate your primary field of work as an artist or content creator.
  • Audiovisual director / content creator
  • Musical artist
    • I am a:
      • Musician (vocalist / instrumentalist)
      • Songwriter
      • Other
  • Performing artist
  • Visual artist
  • Writer
  • None of the above, please specify:

Question 1. From the list below, please indicate your primary field of work as an artist or content creator – Aggregate data table

Field Total Percent
Audiovisual director / content creator 599 12.6%
Musical artist 863 18.2%
Performing artist 1169 24.6%
Visual artist 1303 27.4%
Writer 813 17.1%
Grand Total 4747 -

Sub-Question 1. Type of musical artist – Aggregate data table

Type of musical artist Total
Musician (vocalist / instrumentalist) 774
Songwriter 336
Other 176

Question 2. Do you self-identify as belonging to any of the following groups?

Please select all that apply:

  • Women
  • Gender diverse communities
  • LGBTQ2S+ communities
  • Indigenous Peoples
    • To which Indigenous Peoples community do you belong?
      • First Nations
      • Métis
      • Inuit
  • Racialized communities (e.g., South Asian, Chinese, Black)
    • To which racialized community or communities (other than Indigenous) do you belong? Please select all that apply:
      • South Asian
      • Chinese
      • Black
      • Filipino
      • Latin American
      • Arab
      • Southeast Asian
      • West Asian
      • Korean
      • Japanese
      • Other, please specify:
  • Ethno-cultural communities (e.g., Scottish, Jamaican, Moroccan)
  • Immigrants and refugees
  • Religious minorities
  • Persons with disabilities
  • Deaf communities
  • Official language minority communities (i.e. Anglophones in Quebec and Francophones outside of Quebec)
  • Youth
  • Seniors
  • Those with low income
  • Rural communities
  • Remote and Northern communities
  • None of the above
  • Prefer not to say

Question 2. Do you self-identify as belonging to any of the following groups? – Aggregate data table

Group Total Percentage of all respondents
Women 2629 55.4%
Gender diverse communities 337 7.1%
LGBTQ2S+ communities 1010 21.3%
Indigenous Peoples 151 3.2%
Racialized communities 608 12.8%
Ethno-cultural communities 372 7.8%
Immigrants and refugees 393 8.3%
Religious minorities 177 3.7%
Deaf communities and persons with disabilities 577 12.2%
Official language minority communities 378 8.0%
Youth 269 5.7%
Seniors 555 11.7%
Those with low income 1342 28.3%
Rural communities 425 9.0%
Remote and Northern communities 108 2.3%
None of the above 593 12.5%
Prefer not to say 0 0.0%

Sub-Question 2. Based on how you have self-identified in all of the above, is your identity a central aspect of your artistic or creative work?

  • Yes
    • Please select all that apply:
      • Yes, as an artist of traditional Indigenous art forms
      • Yes, as a creator of Deaf and disability arts
      • Yes, as an artist practicing within a distinct cultural tradition (e.g. from my ethno-cultural community)
      • Yes, I conceive my work for a specific audience of people like myself or my community
      • Yes, I strive to represent my community in my creative work to a general audience
      • Yes (other)
  • No

There is no data table for this question.

Question 3. Pre-pandemic, in 2019 what proportion of your personal income came from activities related to your creative work? (Sales, performance, wages, commissions, royalties, etc.)
  • None
  • Less than 25%
  • 25% to 49%
  • 50% to 74%
  • 75% to 99%
  • 100%

Question 3. Pre-pandemic, in 2019 what proportion of your personal income came from activities related to your creative work? (Sales, performance, wages, commissions, royalties, etc.) – Aggregate data table

- Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total all fields Percentage
None 185 57 71 204 151 668 14.1%
Less than 25% 119 245 241 494 348 1447 30.5%
25% to 49% 41 135 186 143 73 578 12.2%
50% to 74% 33 90 161 93 62 439 9.3%
75% to 99% 52 108 210 94 56 520 11.0%
100% 169 228 300 273 121 1091 23.0%
Total respondents (to the question) 599 863 1169 1301 811 4743 -

Question 4. In what media, genre or space do you work?

Please select all that apply:

  • Audiovisual director / content creator
    • Film
    • Television
    • Video games
    • Online or digital media productions
    • Other (please specify):
  • Musical artist
    • Blues, soul, folk and roots
    • Children’s music
    • Classical
    • Country
    • Electronic and dance
    • Hip-hop, R&B, rap and reggae
    • Jazz
    • Opera
    • Pop
    • Rock, metal, indie and alternative rock
    • Traditional Indigenous music
    • World music and world beat
    • Other, please specify:
  • Performing artist
    • Actor
      • In what media, genre or space do you work as an actor? Please select all that apply:
        • Commercials
        • Film
        • Musical productions
        • Other online or digital media productions
        • Television
        • Theatre
        • Video games
        • Voice artist
        • Work for young audiences
        • Other, please specify:
    • Artistic director
    • Choreographer
    • Circus artist
    • Comedian
    • Dancer
    • Host or “animateur”
    • Mime
    • Puppeteer
    • Spoken word artist
    • Storyteller
    • Other, please specify:
  • Visual artist
    • Crafts
    • Concept art
    • Design
      • What type of designer are you? Please select all that apply:
        • Architecture and urban
        • Artistic product
        • Exhibition
        • Fashion
        • Graphic
        • Interior
        • Jewellery
        • Public art
        • Other, please specify:
    • Drawing and illustration – digital
    • Drawing and illustration – print
    • Installation art (indoor)
    • Mural, public and street art (outdoor)
    • Painting
    • Photography – digital
    • Photography – print
    • Printmaking
    • Sculpture
    • Video game graphics
    • Other, please specify:
  • Writer
    • Book author (published by a publishing firm)
      • In what media, genre or space do you work as a book author? Please select all that apply:
        • Fiction – print
        • Fiction – e-books
        • Non-fiction – print
        • Non-fiction – e-books
        • Poetry books/collections – print
        • Poetry books/collections – e-books
        • Theatrical plays – print
        • Theatrical plays – e-books
    • Book author (self-published)
      • In what media, genre or space do you work as a book author? Please select all that apply:
        • Fiction – print
        • Fiction – e-books
        • Non-fiction – print
        • Non-fiction – e-books
        • Poetry books/collections – print
        • Poetry books/collections – e-books
        • Theatrical plays – print
        • Theatrical plays – e-books
    • Book author (not published)
      • In what media, genre or space do you work as a book author? Please select all that apply:
        • Fiction – print
        • Fiction – e-books
        • Non-fiction – print
        • Non-fiction – e-books
        • Poetry books/collections – print
        • Poetry books/collections – e-books
        • Theatrical plays – print
        • Theatrical plays – e-books
    • Screenwriter
      • In what media or genre do you work as a screenwriter? Please select all that apply:
        • Film
        • Television
        • Video game
        • Other online or digital media
        • Other, please specify:
    • Other material
      • In what media, genre or space do you work as a writer of other material? Please select all that apply:
        • Blog posts
        • Essays
        • Magazine articles – print
        • Magazine articles – online
        • Newspaper articles
        • Newspaper columns
        • Poetry
        • Short stories
        • Technical writing
        • Theatrical plays
        • Other online or digital media
        • Other, please specify:

Question 4. In what media, genre or space do you work? – Aggregate data tables

Audiovisual directors – Aggregate data table
Audiovisual directors Total
Film 233
Television 175
Video games 57
Online or digital media productions 366
Other 111
Musical artists – Aggregate data table
Musical artists Total
Blues, soul, folk and roots 278
Children’s music 83
Classical 389
Country 99
Electronic and dance 83
Hip-Hop, R&B, rap and reggae 65
Jazz 218
Opera 150
Pop 239
Rock, metal, indie and alternative rock 229
World music and world beat 123
Other 180
Performing artists – Aggregate data table
Performing artists Total
Actor 752
Artistic director 229
Choreographer 186
Circus artist 83
Comedian 171
Dancer 247
Host or "animateur" 107
Mime 11
Puppeteer 65
Spoken word artist 57
Storyteller 184
Other 399
Actors – Aggregate data table
Actors Total
Commercials 349
Film 463
Musical productions 265
Other online or digital media productions 283
Television 444
Theatre 632
Video games 98
Voice artist 334
Work for young audiences 174
Other 49
Visual artists – Aggregate data table
Visual artists Total
Crafts 292
Concept art 277
Design 348
Drawing and illustration – digital 444
Drawing and illustration – print 395
Installation art (indoor) 179
Mural, public and street art (outdoor) 109
Painting 561
Photography – digital 237
Photography – print 127
Printmaking 123
Sculpture 251
Video game graphics 69
Other 290
Type of design work – Aggregate data table
Type of design work Total
Architecture and urban 23
Artistic product 136
Exhibition 46
Fashion 37
Graphic 225
Interior 25
Jewellery 28
Public art 41
Other 57
Authors – Aggregate data table
Authors Total
Book author – Published by a publishing firm 330
Book author – Self-published 182
Book author – Not published 136
Screenwriter 183
Other material 310
Book authors – Aggregate data table
Book authors Total
Fiction – print 369
Fiction – e-books 238
Non-fiction – print 205
Non-fiction – e-books 115
Poetry books/collections – print 128
Poetry books/collections – e-books 63
Theatrical plays – print 48
Theatrical plays – e-books 21
Screenwriters – Aggregate data table
Screenwriters Total
Film 113
Television 136
Video game 7
Other online or digital media 52
Other 18
Writers of other material – Aggregate data table
Writers of other material Total
Blog posts 127
Essays 100
Magazine articles – print 99
Magazine articles – online 117
Newspaper articles 62
Newspaper columns 29
Poetry 94
Short stories 115
Technical writing 51
Theatrical plays 80
Other online or digital media 108
Other 65

Question 5. Pre-pandemic in 2019 (between January and December), were you working as a {Response to Question 1}?
  • Yes
  • No

Question 5. Pre-pandemic in 2019 (between January and December), were you working as a {Response to Question 1}? – Aggregate data table

- Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total
Yes 373 749 995 993 604 3 714
No 180 71 115 233 151 750
Blank 46 43 59 77 58 283

Question 6. How many hours per week did you spend on average on your creative work as a {Response to Question 1}? (Note: This excludes time spent on promoting or marketing)
  • Hours per week:
  • I do not know

Question 6. How many hours per week did you spend on average on your creative work as a {Response to Question 1}? (Note: This excludes time spent on promoting or marketing) – Aggregate data table

Number of respondents Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total
Blank 226 115 176 311 211 1039
I do not know 73 149 321 209 162 914
Able to list hours per week 300 599 672 783 440 2794
Total 599 863 1169 1303 813 4747
Average hours per week (creative) 30.55 25.25 26.72 26.82 23.31 26.31

Question 7. How many hours per week did you spend on average on your non-creative work as a {Response to Question 1}? (Note: This includes time spent on promoting or marketing)
  • Hours per week:
  • I do not know

Question 7. How many hours per week did you spend on average on your non-creative work as a {Response to Question 1}? (Note: This includes time spent on promoting or marketing) – Aggregate data table

Number of respondents Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total
Blank 227 115 177 313 211 1043
I do not know 109 222 368 339 213 1251
Able to list hours per week 263 526 624 651 389 2453
Total 599 863 1169 1303 813 4747
Average hours per week (non-creative) 17.51 14.88 17.68 14.48 13.00 15.47

Question 8. How long have you generated income from your work as a {Response to Question 1}
  • I have never generated income from this work
  • About 1 year
  • Less than 5 years
  • 5 to 9 years
  • 10 to 19 years
  • 20 to 29 years
  • 30 years or more

Question 8. How long have you generated income from your work as a {Response to Question 1} – Aggregate data table

- Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total Percentage
I have never generated income from this work 143 48 58 146 126 521 11.7%
About 1 year 79 29 44 115 65 332 7.4%
Less than 5 years 98 118 174 303 133 826 18.5%
5 to 9 years 61 113 197 221 129 721 16.2%
10 to 19 years 79 183 273 194 138 867 19.4%
20 to 29 years 58 127 168 101 81 535 12.0%
30 years or more 34 201 194 148 85 662 14.8%
Total respondents (to the question) 552 819 1108 1228 757 4464 -

Question 9. In the 2016 Canadian Census, what did you identify as your occupation?
  • Author/writer
  • Producer, director, choreographer, or related occupations
  • Musician/singer
  • Conductor, composer, or arranger
  • Painter, sculptor or other visual artist
  • Artisan/craftsperson
  • Photographer
  • Graphic designer/illustrator
  • Patternmaker
  • Theatre, fashion, exhibit or other creative designer
  • Industrial designer
  • Interior designer
  • Dancer
  • Actor/comedian
  • Teaching/education in a related field
  • Other work in a related field
  • Other or work in an unrelated field
  • Not applicable
  • I don’t know

Question 9. In the 2016 Canadian Census, what did you identify as your occupation? – Aggregate data table

- Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total
Actor/comedian 10 0 347 1 11 369
Artisan/craftsperson 2 0 2 55 0 59
Author/writer 6 4 10 4 239 263
Conductor, composer, or arranger 3 43 2 0 0 48
Dancer 2 0 64 1 0 67

Graphic designer/

illustrator

 12 1 3 123 1 140
I don’t know 83 107 213 179 117 699
Industrial designer 0 0 1 1 0 2
Interior designer 2 0 1 3 0 6
Musician/singer 0 366 38 1 1 406
Not applicable 92 87 128 208 78 593
Other or work in an unrelated field 108 108 97 227 174 714
Other work in a related field 49 38 57 75 64 283
Painter, sculptor or other visual artist 6 0 0 225 2 233
Photographer 7 0 0 34 0 41
Producer, director, choreographer, or related occupations 132 9 90 4 14 249
Teaching/education in a related field 15 40 29 54 42 180
Theatre, fashion, exhibit or other creative designer 8 1 13 11 1 34
Blank / no response 62 59 74 97 69 361
Total 599 863 1169 1303 813 4747

Question 10. What was your employment status on December 31, 2019?

Please select all that apply:

  • Employed
  • Self-employed
  • Student
  • Stay-at-home parent or caregiver
  • Retired
  • Unemployed
  • Prefer not to say

Question 10. What was your employment status on December 31, 2019? – Aggregate data table

Employment status Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total
Prefer not to say 6 7 7 23 14 57
Stay-at-home parent or caregiver 16 19 27 36 20 118
Unemployed 45 18 42 87 50 242
Retired 6 44 23 106 89 268
Student 70 62 80 127 42 381
Employed 249 340 431 499 289 1808
Self-employed 219 541 750 550 379 2439

Question 11. Please select the option(s) that best describe your employment status on December 31, 2019.
  • Employed as a {Response to Question 1}: Full time / Part time / No
  • Employed in a related field: Full time / Part time / No
  • Employed in a different field: Full time / Part time / No
  • Self-employed as a {Response to Question 1}: Full time / Part time / No
  • Self-employed in a related field: Full time / Part time / No
  • Self-employed in a different field: Full time / Part time / No

Question 11. Please select the option(s) that best describe your employment status on December 31, 2019. – Aggregate data table

Employment status Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total
Employed as a {Response to Question 1} 890
Full time 74 47 75 87 27 310
Part time 53 153 177 121 76 580
Employed in a related field 926
Full time 68 100 104 126 83 481
Part time 30 96 164 95 60 445
Employed in a different field 751
Full time 50 63 61 118 85 377
Part time 28 72 110 111 53 374
Self-employed as a {Response to Question 1} 2137
Full time 123 238 344 268 147 1120
Part time 70 244 315 217 171 1017
Self-employed in a related field 878
Full time 26 36 47 37 30 176
Part time 66 163 257 108 108 702
Self-employed in a different field 427
Full time 9 18 17 20 17 81
Part time 23 66 128 72 57 346

Question 12. Please select the option that best describes how much your income levels from your work as a {Response to Question 1} typically change, year to year (without taking the pandemic into consideration):
  • It can go up or down by at least 100% (double)
  • It can go up or down by at least 50% (half)
  • It can go up or down by at least 25% (quarter)
  • It can go up or down by at least 10% (tenth)
  • It stays about the same

Question 12. Please select the option that best describes how much your income levels from your work as a {Response to Question 1} typically change, year to year (without taking the pandemic into consideration) – Aggregate data table

Income change Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total Percentage
It can go up or down by at least 100% (double) 99 150 274 287 234 1044 25.3%
It can go up or down by at least 50% (half) 129 203 356 286 167 1141 27.6%
It can go up or down by at least 25% (quarter) 74 206 230 208 101 819 19.8%
It can go up or down by at least 10% (tenth) 40 103 78 113 40 374 9.1%
It stays about the same 138 105 107 232 168 750 18.2%
Total respondents (to the question) 480 767 1045 1126 710 4128 -

Question 13. What was your total gross (pre-tax) personal annual income in 2019?
  • Under $9,999
  • $10,000 to $19,999
  • $20,000 to $39,999
  • $40,000 to $59,999
  • $60,000 to $79,999
  • $80,000 to $99,999
  • $100,000 to $124,999
  • $125,000 to $149,999
  • $150,000 to $199,999
  • $200,000 and over
  • Prefer not to say

Question 13. What was your total gross (pre-tax) personal annual income in 2019? – Aggregate data table

Income range Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total Percentage
Under $9,999 62 57 93 196 114 522 12.6%
$10,000 to $19,999 72 123 178 189 78 640 15.4%
$20,000 to $39,999 98 220 353 306 194 1171 28.3%
$40,000 to $59,999 72 134 182 186 112 686 16.6%
$60,000 to $79,999 63 69 100 75 85 392 9.5%
$80,000 to $99,999 33 50 35 36 38 192 4.6%
$100,000 to $124,999 18 27 25 30 13 113 2.7%
$125,000 to $149,000 10 9 10 6 18 53 1.3%
$150,000 to $199,999 8 9 3 6 3 29 0.7%
$200,000 and over 6 7 10 3 7 33 0.8%
Prefer not to say 44 62 57 98 53 314 7.6%
Total respondents (to the question) 486 767 1046 1131 715 4145 -

Question 14. In the past 5 years, were any of the following sources of income for your work as a {Response to Question 1}?

Please select all that apply:

  • Salaried or hourly paid job in this line of work
  • Royalties and licensing for use of your work by others (including online streaming)
  • Online paid download of your work
  • Physical sale of works
  • Sale of promotional/branded items or merchandise (online, in stores, or on site)
  • Public display, exhibition, or in-person performance of work
  • Direct commissioning of work
  • None of the above

Question 14. In the past 5 years, were any of the following sources of income for your work as a {Response to Question 1}? – Aggregate data table

Source of income Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total
Salaried or hourly paid job in this line of work 202 310 561 336 171 1580
Royalties and licensing for use of your work by others 118 331 312 186 280 1227
Online paid download of your work 61 239 69 104 123 596
Physical sale of works 47 257 77 671 279 1331
Sale of promotional/branded items or merchandise 43 142 53 150 29 417
Public display, exhibition, or in-person performance of work 90 482 572 391 189 1724
Direct commissioning of work 149 185 237 601 190 1362
None of the above 140 67 112 118 156 593

Question 15. In the past 5 years, where have you sold your works, promotional/branded merchandise, or exhibits and performances?

Please select all that apply:

  • North America
  • Latin America
  • Europe
  • Africa
  • Middle East
  • Asia-Pacific
  • I only sell within Canada

Question 15. In the past 5 years, where have you sold your works, promotional/branded merchandise, or exhibits and performances? – Aggregate data table

Location Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total
North America 102 380 325 488 273 1568
Latin America 23 52 31 29 29 164
Europe 58 206 122 175 147 708
Africa 3 14 10 6 12 45
Middle East 9 22 20 14 15 80
Asia-Pacific 29 66 49 53 53 250
I only sell within Canada 29 155 255 264 69 772

Question 16. In the past 5 years, which of the following sources provided direct additional financial support for your work as a {Response to Question 1}?

Please select all that apply:

  • Federal government grants
  • Provincial government grants
  • Municipal government grants
  • Educational or training institutions (e.g. college or university)
  • Artist residencies
  • Awards, grants, or fellowships from associations, foundations, or industry organizations
  • Sponsorships or partnerships with brands (including on social media)
  • Crowdfunding or online patronage
  • Philanthropy (single patron)
  • Mutual aid (others in the arts and culture sector)
  • Additional family income or support (e.g. household income from spouse, parents, etc.)
  • Investment income (e.g. includes inheritance, investments, real estate, etc.)
  • Loans from banks or private lenders
  • None of the above

Question 16. In the past 5 years, which of the following sources provided direct additional financial support for your work as a {Response to Question 1}? – Aggregate data table

Source of additional financial support Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total
Federal government grants 106 164 228 104 116 718
Provincial government grants 104 189 279 179 126 877
Municipal government grants 37 111 197 77 52 474
Educational or training institutions 50 140 194 128 93 605
Artist residencies 21 69 154 105 79 428
Awards, grants, or fellowships from foundations etc. 82 151 237 138 153 761
Sponsorships or partnerships with brands 53 27 66 23 14 183
Crowdfunding or online patronage 45 70 142 87 46 390
Philanthropy (single patron) 22 63 56 37 16 194
Mutual aid (others in the arts and culture sector) 28 56 112 44 24 264
Additional family income or support 104 207 312 342 209 1174
Investment income 38 81 129 111 103 462
Loans from banks or private lenders 35 47 58 42 40 222
None of the above 206 241 312 447 247 1453

Question 17. What federal sources of support did you receive in the past 5 years?

Please select all that apply:

  • Canada Council for the Arts
  • National Film Board of Canada
  • Telefilm Canada
  • Canada Media Fund
  • Canada Music Fund (FACTOR)
  • Canada Music Fund (Musicaction)
  • Creative Export Canada
  • Other, please specify:
  • None of the above

Question 17. What federal sources of support did you receive in the past 5 years? – Aggregate data table

Federal source Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total
Canada Council for the Arts 49 118 196 89 85 537
National Film Board of Canada 20 2 4 0 2 28
Telefilm Canada 32 1 5 1 15 54
Canada Media Fund 41 4 1 3 18 67
Canada Music Fund (FACTOR) 5 64 2 0 0 71
Canada Music Fund (Musicaction) 0 6 1 0 0 7
Creative Export Canada 4 2 1 0 1 8
Other, please specify: 20 25 31 14 16 106
None of the above 8 10 11 5 6 40

Question 18. Since the outbreak of COVID-19 in Canada (March 2020), how much time have you spent on your creative work compared to what was typical in 2019?
  • At least 100% (double) more time
  • At least 50% more time
  • 25% to 49% more time
  • 10% to 24% more time
  • About the same amount of time
  • 10% to 24% less time
  • 25% to 49% less time
  • At least 50% less time
  • 100% less time (stopped all creative work since March 2020)

Question 18. Since the outbreak of COVID-19 in Canada (March 2020), how much time have you spent on your creative work compared to what was typical in 2019? – Aggregate data table

- Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total all fields Percentage
At least 100% (double) more time 135 86 65 201 131 618 15.3%
At least 50% more time 60 70 109 161 102 502 12.4%
25% to 49% more time 48 48 63 102 62 323 8.0%
10% to 24% more time 26 39 37 85 51 238 5.9%
About the same amount of time 101 120 105 241 172 739 18.3%
10% to 24% less time 19 50 85 71 52 277 6.9%
25% to 49% less time 28 84 97 62 31 302 7.5%
At least 50% less time 29 205 344 135 72 785 19.5%
100% less time (stopped all creative work since March 2020) 13 48 115 49 24 249 6.2%
Total respondents (to the question) 459 750 1020 1107 697 4033 -

Question 19. Since the outbreak of COVID-19 in Canada (March 2020), how has your income from creative work differed, if at all, compared to what you experienced over the same period in 2019?
  • At least 100% (double) more income
  • At least 50% more income
  • 25% to 49% more income
  • 10% to 24% more income
  • About the same amount of income
  • 10% to 24% less income
  • 25% to 49% less income
  • At least 50% less income
  • 100% less income (lost all income from creative work since March 2020)

Question 19. Since the outbreak of COVID-19 in Canada (March 2020), how has your income from creative work differed, if at all, compared to what you experienced over the same period in 2019? – Aggregate data table

- Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total all fields Percentage
At least 100% (double) more income 47 11 23 53 28 162 4.0%
At least 50% more income 21 10 28 48 29 136 3.4%
25% to 49% more income 23 8 23 40 21 115 2.9%
10% to 24% more income 30 16 34 93 43 216 5.4%
About the same amount of income 144 81 109 290 261 885 22.1%
10% to 24% less income 35 72 63 95 59 324 8.1%
25% to 49% less income 36 94 101 106 58 395 9.9%
At least 50% less income 64 281 376 213 132 1066 26.6%
100% less income (lost all income from creative work since March 2020) 56 174 258 156 60 704 17.6%
Total respondents (to the question) 456 747 1015 1094 691 4003 -

Question 20. Since the outbreak of COVID-19 in Canada (March 2020), have you applied for any of the following emergency support?

Please select all that apply:

  • Federal government support: Canada Emergency Response Benefit (CERB) or Canada Emergency Student Benefit (CESB)
  • Federal government support: Employment Insurance (temporary COVID-19 relief)
  • Federal government support: Canada Recovery Benefit (CRB), Canada Recovery Sickness Benefit (CRSB), Canada Recovery Caregiving Benefit (CRCB), others
  • Provincial government support
  • Municipal government support
  • Other (e.g. support from industry, professional or arts organizations)
  • None of the above

Question 20. Since the outbreak of COVID-19 in Canada (March 2020), have you applied for any of the following emergency support? – Aggregate data table

- Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total all fields
Federal government support: Canada Emergency Response Benefit (CERB) or Canada Emergency Student Benefit (CESB) 235 418 708 465 245 2071
Federal government support: Employment Insurance (temporary COVID-19 relief) 45 56 132 97 42 372
Federal government support: Canada Recovery Benefit (CRB), Canada Recovery Sickness Benefit (CRSB), Canada Recovery Caregiving Benefit (CRCB), others 83 180 304 145 66 778
Provincial government support 48 77 119 96 31 371
Municipal government support 10 19 28 10 2 69
Other (e.g. support from industry, professional or arts organizations) 31 86 82 34 37 270
None of the above 176 268 231 513 395 1583

Question 21. Which of the following statements best describes how the challenges brought on by the COVID-19 pandemic have affected your plans regarding your own creative work in the long-term (after the pandemic)?
  • I plan to carry on with my creative work
  • I plan to explore new creative expressions, media or genres in my creative occupation
  • I plan to adapt my creative work to be presented differently (e.g. digital distribution)
  • I plan to explore a different creative occupation
    • What are the reasons for your plan to quit your creative work? (Select all that apply)
      • Financial concerns about sustaining creative career
      • Immediate financial needs
      • Time constraints
      • Creative constraints
      • Lack of access to creative materials (e.g. equipment, space, tools)
      • Lack of access to market (e.g. audience, buyers)
      • Other (personal)
  • I plan to quit my creative work

Question 21. Which of the following statements best describes how the challenges brought on by the COVID-19 pandemic have affected your plans regarding your own creative work in the long-term (after the pandemic)? – Aggregate data table

- Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total all fields Percentage
I plan to carry on with my creative work 298 455 571 722 503 2549 63.3%
I plan to explore new creative expressions, media or genres in my creative occupation 92 113 213 202 103 723 18.0%
I plan to adapt my creative work to be presented differently (e.g. digital distribution) 42 121 118 121 54 456 11.3%
I plan to explore a different creative occupation 14 32 66 33 22 167 4.2%
I plan to quit my creative work 12 26 50 27 14 129 3.2%
Total respondents (to the question) 458 747 1018 1105 696 4024 -

Sub-Question 21. What are the reasons for your plan to quit your creative work? – Aggregate data table

Financial concerns about sustaining creative career 96
Immediate financial needs 77
Time constraints 36
Creative constraints 35
Lack of access to creative materials (e.g. equipment, space, tools) 48
Lack of access to market (e.g. audience, buyers) 69
Other (personal) 39

Question 22. Now, during the pandemic, approximately what proportion of your personal income currently comes from activities related to your creative work? (Sales, performance, wages, commissions, royalties, etc.)
  • None
  • Less than 25%
  • 25% to 49%
  • 50% to 74%
  • 75% to 99%
  • 100%

Question 22. Now, during the pandemic, approximately what proportion of your personal income currently comes from activities related to your creative work? (Sales, performance, wages, commissions, royalties, etc.) – Aggregate data table

- Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total all fields Percentage
None 129 197 246 292 190 1054 26.2%
Less than 25% 109 312 404 388 312 1525 37.9%
25% to 49% 42 63 116 90 46 357 8.9%
50% to 74% 25 33 66 50 37 211 5.2%
75% to 99% 32 41 56 53 38 220 5.5%
100% 120 103 128 231 75 657 16.3%
Total respondents (to the question) 457 749 1016 1104 698 4024 -

Question 23. What types of industry intermediaries do you currently work with to produce or disseminate your work?

Please select all that apply:

  • Art dealers
  • Artist run centers
  • Arts presenters
  • Audiovisual production companies or studios
  • Creative hubs or cooperatives
  • Festivals
  • Independent managers, agents, or publicists
  • Music companies or record labels
  • Music publishers
  • Online platforms and streaming services (e.g. open and closed catalogue websites)
  • Professional arts training institutions
  • Professional unions, guilds, or associations
  • Publishers or publishing firms
  • Rights collectives
  • Venues (e.g. galleries, museums, theatres, concert halls, clubs)
  • Other, please specify:
  • None: I work completely independently
    • Why not work with other industry professionals or organizations in your field, such as audiovisual production companies or studios / music companies or record labels / publishers or publishing firms? Please select all that apply:
      • I used to, but I don’t anymore
      • I can’t cover the costs
      • I would like to work with industry, but not at this career stage
      • I want to be in full control of my creative work
      • I want to develop the necessary skills on my own
      • I tried to, but did not meet the requirements
      • I don’t need to
      • I am ineligible (e.g., membership in one group excludes involvement in another)
      • I have experienced instances of discrimination or harassment
      • I am deterred by systemic barriers based on gender, sexual orientation, race, ethnic origin, age, or disability
      • I wasn’t aware of them
      • I don't know how to connect with these industry professionals
      • Other, please specify:
      • Does not apply (I’m a screenwriter)

Question 23. What types of industry intermediaries do you currently work with to produce or disseminate your work? – Aggregate data table

Intermediary Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total
Art dealers 3 7 3 130 10 153
Artist run centers 34 48 114 226 36 458
Arts presenters 31 233 323 72 59 718
Audiovisual production companies or studios 163 144 142 42 64 555
Creative hubs or cooperatives 49 81 148 116 63 457
Festivals 130 276 399 175 139 1119
Independent managers, agents, or publicists 68 163 322 55 92 700
Music companies or record labels 21 143 20 12 5 201
Music publishers 17 119 8 6 6 156
Online platforms and streaming services (e.g. open and closed catalogue websites) 197 340 245 290 159 1231
Professional arts training institutions 31 108 197 62 28 426
Professional unions, guilds, or associations 62 176 338 84 134 794
Publishers or publishing firms 34 43 33 93 336 539
Rights collectives 24 125 29 18 71 267
Venues (e.g. galleries, museums, theatres, concert halls, clubs) 60 306 340 268 73 1047
Other, please specify: 47 76 102 132 108 465
None: I work completely independently 97 112 108 339 121 777

Sub-Question 23. Why not work with other industry professionals or organizations in your field? – Aggregate data table

Reason Audiovisual director / content creator Musical artist Writer Total
I used to, but I don’t anymore 17 63 36 116
I can’t cover the costs 73 163 55 291
I would like to work with industry, but not at this career stage 43 93 76 212
I want to be in full control of my creative work 85 144 64 293
I want to develop the necessary skills on my own 32 60 24 116
I tried to, but did not meet the requirements 31 72 62 165
I don’t need to 52 112 19 183
I am ineligible (e.g., membership in one group excludes involvement in another) 11 15 15 41
I have experienced instances of discrimination or harassment 25 37 24 86
I am deterred by systemic barriers based on gender, sexual orientation, race, ethnic origin, age, or disability 42 78 40 160
I wasn’t aware of them 36 25 25 86
I don't know how to connect with these industry professionals 85 179 114 378
Other, please specify: 41 125 64 230

Question 24. Besides the option(s) you selected previously (if any), why not work with other industry professionals or organizations in your field?

Please select all that apply:

  • I used to, but I don’t anymore
  • I can’t cover the costs
  • I would like to work with industry, but not at this career stage
  • I want to be in full control of my creative work
  • I want to develop the necessary skills on my own
  • I tried to, but did not meet the requirements
  • I don’t need to
  • I am ineligible (e.g., membership in one group excludes involvement in another)
  • I have experienced instances of discrimination or harassment
  • I am deterred by systemic barriers based on gender, sexual orientation, race, ethnic origin, age, or disability
  • I don't know how to connect with these industry professionals
  • Other, please specify:

There is no data table for this question.

Question 25. Please indicate in the checklist below the areas of support from industry professionals or organizations where you have benefitted in the past and/or would like to benefit in the future.

Please select all that apply:

  • Networking opportunities: personal introductions
  • Networking opportunities: collective initiatives, events, conferences, etc.
  • Finding projects and/or gigs
  • Promotion and marketing
  • Applications for grants, fellowships, or other career development opportunities
  • Logistics and organization
  • Facilitating payment or collection of royalties from use of works
  • Knowledge/expertise in my creative field
  • Training and skills development
  • Market knowledge and data analytics
  • Adapting my creative work to context of COVID-19
  • Tools for ensuring discoverability and exposure of my content online
  • Knowledge sharing and advocacy for the sector
  • Social service supports for artists and content creators (e.g. health, legal, taxes, caregiving arrangements, etc.)
  • Other

Question 25. Please indicate in the checklist below the areas of support from industry professionals or organizations where you have benefitted in the past and/or would like to benefit in the future – Aggregate data table

Area of support Past Future
Networking opportunities: personal introductions 2594 2760
Networking opportunities: collective initiatives, events, conferences, etc. 2251 2523
Finding projects and/or gigs 2167 2669
Promotion and marketing 1645 2535
Applications for grants, fellowships, or other career development opportunities 1379 2514
Logistics and organization 814 1582
Facilitating payment or collection of royalties from use of works 938 1887
Knowledge/expertise in my creative field 2072 2421
Training and skills development 2046 2294
Market knowledge and data analytics 712 1661
Adapting my creative work to context of COVID-19 787 1554
Tools for ensuring discoverability and exposure of my content online 981 2293
Knowledge sharing and advocacy for the sector 1161 2046
Social service supports for artists and content creators (e.g. health, legal, taxes, caregiving arrangements, etc.) 671 2152

Question 26. Principal place of residence:
  • Postal code:
  • Prefer not to answer

There is no data table for this question.

Question 27. Province / Territory:
  • Alberta
  • British Columbia
  • Manitoba
  • New Brunswick
  • Newfoundland and Labrador
  • Northwest Territories
  • Nova Scotia
  • Nunavut
  • Ontario
  • Prince Edward Island
  • Quebec
  • Saskatchewan
  • Yukon
  • I don’t live in Canada (principal residence abroad):

Question 27. Province / Territory – Aggregate data table

Province Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total Percentage
Alberta 43 50 95 118 51 357 9.5%
British Columbia 80 106 169 173 109 637 16.9%
Manitoba 21 26 35 34 26 142 3.8%
New Brunswick 10 8 11 48 20 97 2.6%
Newfoundland 0 0 0 0 0 0 0.0%
Northwest Territories 1 1 0 2 1 5 0.1%
Nova Scotia 13 27 23 51 33 147 3.9%
Nunavut 0 0 0 0 0 0 0.0%
Ontario 192 394 501 438 262 1787 47.5%
Prince Edward Island 3 2 3 16 6 30 0.8%
Quebec 46 87 105 104 133 475 12.6%
Saskatchewan 6 7 13 34 8 68 1.8%
Yukon 2 2 1 8 6 19 0.5%
Total 417 710 956 1026 655 3764 -

Question 28. Age
  • Under 18 years old
  • 18 to 24 years old
  • 25 to 34 years old
  • 35 to 44 years old
  • 45 to 54 years old
  • 55 to 64 years old
  • 65 years old and over

Question 28. Age – Aggregate data table

Age range Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total Percentage
Under 18 years old 5 3 3 7 1 19 0.5%
18 to 24 years old 69 39 74 89 28 299 7.8%
25 to 34 years old 117 181 290 283 99 970 25.2%
35 to 44 years old 104 172 238 211 152 877 22.8%
45 to 54 years old 63 124 154 164 124 629 16.4%
55 to 64 years old 48 131 140 163 140 622 16.2%
65 years old and over 21 76 71 136 123 427 11.1%
Total 427 726 970 1053 667 3843 -

Question 29. Gender
  • Woman
  • Man
  • Gender diverse / non-binary

Question 29. Gender – Aggregate data table

Gender Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total Percentage
Woman 191 298 555 719 433 2196 57.1%
Man 203 404 358 236 197 1398 36.4%
Gender diverse / non-binary 32 23 59 98 38 250 6.5%
Total 426 725 972 1053 668 3844 -

Question 30. Marital status
  • Never married
  • Married or living common law
  • Separated, divorced, or widowed

Question 30. Marital status – Aggregate data table

Status Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total Percentage
Never married 181 230 379 402 186 1378 36.0%
Married or living common law 205 427 493 519 387 2031 53.0%
Separated, divorced, or widowed 37 66 100 128 91 422 11.0%
Total 423 723 972 1049 664 3831 -

Question 31. Dependents
  • I have a child/children under the age of 18 years old
  • I am responsible for the financial care of one or more adult relative(s)
  • I do not have dependents

Question 31. Dependents – Aggregate data table

Status Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total Percentage
I have a child/children under the age of 18 years old 108 127 172 172 134 713 18.7%
I am responsible for the financial care of one or more adult relative(s) 36 52 60 88 69 305 8.0%
I do not have dependents 281 542 723 788 467 2801 73.3%
Total 425 721 955 1048 670 3819 -

Question 32. Language spoken most often at home
  • English
  • French
  • Indigenous language (option to specify):
  • Other (option to specify):

Question 32. Language spoken most often at home – Aggregate data table

Language Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total Percentage
English 390 659 877 954 562 3442 81.4%
French 53 81 132 127 119 512 12.1%
Indigenous language 4 1 4 4 5 18 0.4%
Other 41 43 61 69 45 259 6.1%
Total 488 784 1074 1154 731 4231 -

Question 33. Highest level of education attained (completed)
  • Did not complete high school
  • High school degree or equivalent
  • Some postsecondary education
  • Postsecondary (CEGEP, college or other non-university) certificate or diploma
  • Postsecondary (university) certificate, diploma, or degree
  • Graduate degree (Master’s / PhD)

Question 33. Highest level of education attained (completed) – Aggregate data table

Education level Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total Percentage
Did not complete high school 11 10 9 16 4 50 1.3%
High school degree or equivalent 30 45 35 51 11 172 4.5%
Some postsecondary education 53 93 106 122 47 421 11.0%
Postsecondary (CEGEP, college or other non-university) certificate or diploma 87 75 211 225 86 684 17.8%
Postsecondary (university) certificate, diploma, or degree 183 266 446 466 267 1628 42.4%
Graduate degree (Master’s / PhD) 62 237 164 174 250 887 23.1%
Total 426 726 971 1054 665 3842 -

Question 34. Is part of your education directly related to your work as a {Response to Question 1}?
  • Yes
  • No

Question 34. Is part of your education directly related to your work as a {Response to Question 1}? – Aggregate data table

Response Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total Percentage
Yes 261 521 789 760 442 2773 72.3%
No 162 206 181 292 223 1064 27.7%
Total 423 727 970 1052 665 3837 -

Question 35. Do you live in...
  • A major city or metropolitan area with a population of 100,000 people or more
  • A city with a population between 10,000 and 99,999 people
  • A town with a population between 1,000 and 9,999 people
  • A rural area with a population less than 1,000 people

Question 35. Do you live in – Aggregate data table

Settlement type Audiovisual director / content creator Musical artist Performing artist Visual artist Writer Total Percentage
A rural area with a population less than 1,000 people 20 36 29 111 41 237 6.2%
A town with a population between 1,000 and 9,999 people 31 47 43 116 59 296 7.7%
A city with a population between 10,000 and 99,999 people 67 70 110 184 94 525 13.7%
A major city or metropolitan area with a population of 100,000 people or more 308 573 787 641 471 2780 72.4%
Total 426 726 969 1052 665 3838 -

Question 36. Do you live on a First Nations reserve?
  • Yes
  • No

There is no data table for this question.

Question 37. What wasn’t asked in this survey that you feel is important for us to know about the circumstances of your economic viability as a Canadian artist or content creator? Please feel free to elaborate on themes from the survey. When providing comment, we request that you do not include identifying personal information about yourself or others.

There is no data table for this question.

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