“The message we are currently sending to dancers,” summarizes the general director of the Regroupement québécois de la danse (RQD), Nadine Medawar, “is that their society expects them to act only out of passion. . That it is normal for them to sacrifice themselves to be artists.” A new economic study, which The duty read first, figures an average annual income from dance oscillating between $22,859 and $27,334, between 2019 and 2022, with a decreasing number of productions per year for professionals.
“Continuing to work in these conditions is shameful. For me, the question goes beyond the economy,” says Nadine Medawar. “It would rather be: What value do we want to give to our culture? What value do we place on Quebec dance, which has been and is a jewel for our society, and which is recognized internationally? »
The state of play of the dance sector in Quebeccommissioned by the RQD from the firm AppEco, aims to chart the post-pandemic landscape, so that 2021-2022 can then serve as a year zero to observe the evolution of future trends, explains the director.
The main problems? Inflation, which is added to the other risks of the profession which are still not resolved, such as financial and employment instability, and the risk of injuries.
In addition, dance has not regained its rhythm, its spectators and its pre-pandemic revenue. Ticket revenue is almost 34% lower in 2022 than in 2019. The number of tickets sold decreased by 5%. From 2018 to 2021, attendance at dance shows per year fell from 180,852 spectators to 75,399. This is a drop of 58.3%.
Establishments remain in deficit in 2021-2022, with an average cost-to-revenue ratio of 123%. “The deficits are higher,” adds Mme Medawar. “And with our knowledge of the organisms, we anticipate that they will continue. »
Studio spaces are hard to find; the average annual cost of space has increased by 48% since the pandemic. The staff shortage is hitting hard. Among the 39 member organizations that responded to the survey, 14 of them have at least one vacant position, for a total of 28 vacant positions, mainly in communications and administration.
And Statistics Canada’s Survey of Employment, Payrolls and Hours Worked has already shown that the average weekly earnings for jobs in the arts sector in 2022 ($703.51) are much lower than other sub-industries cultural industries such as the film and sound recording industry ($1,170.68), publishing ($1,579.50) or radio and television ($1,308.64).
Nadine Medawar: “In dance, we were already late in adjusting our budgets. There, we are absolutely not competitive. I myself am leaving my position at the RQD in a month and a half because I received a very good offer in another sector…”, illustrates the general director.
Three jobs, five shows per year
At the heart of this environment, the dancer. The composite portrait that the study draws is that of a precarious worker in Montreal — more than 74% of establishments are located there. Nearly 78% of dance professionals hold more than one job. And nearly two-thirds of those have three or more jobs.
Nearly 97% of individuals are self-employed. Women represent 74% of respondents, and almost 55% of respondents are under 40 years old. Contemporary dance is the main practice (87%), classical comes next (17%), and urban dance (12%).
“We see that diffusion has decreased, even if creation was able to continue during the pandemic thanks to emergency measures from governments,” indicates Mme Medawar. In numbers ? The average per presenter went from 12 shows and 60 performances in 2018-2019 to 7 productions and 35 performances in 2020-2021.
“We notice that international penetration is much slower, too,” summarizes Nadine Medawar, with a 15% drop in international productions between 2019 and 2022. “Artists are creating with fewer performers to respond to budgets that are too tight, and not by artistic choice,” continues the director.
Result: fewer dancers working, “and small forms are less “attractive” for presenters, less attractive internationally. The broadcasters name it: they are looking for broader creations. »
For artists, the impact is direct: the number of shows where they dance, per year, “depreciated from 2019 to 2021, to resume in 2022, displaying an average of 4.6 productions per professional”, reads we. Fewer shows means less revenue. “On average, RQD professional members received $29.56 per rehearsal and $418.75 per performance in 2022.”
Pay to dance when you’re a dancer
Dancers must train to stay at the peak of their virtuosity. Training represents 21% of their total individual expenses. Dancing in your living room has its limits: expenses for spaces account for 17%, and expenses for equipment, 13%.
“We are not very optimistic for the 2024 budget,” admits Mme Medawar, “but we want to make sure that culture is not ignored. A budgetary status quo, in studio reality, means cutting back. We absolutely must improve investments. »
With what priorities? “Honestly, everywhere. First in creative budgets, for artists. But we have a lot of organizations that are surviving on last year’s surplus, but there won’t be much left for much longer. If there is no investment in future budgets, several organizations are at risk. »