The federal government announced the Tourism and Hospitality Recovery Program and the Hardest-Hit Business Recovery Program.
Despite a gradual easing of public health restrictions in the provinces and territories, performing arts companies, presenters and festivals still showed no signs of economic recovery in the second quarter of 2021.
On September 30th, CAPACOA’s office will be closed to recognize the National Day for Truth and Reconciliation, also known as Orange Shirt Day, a day to commemorate the legacy of residential schools. We invite our members to join us in committing to reflecting on Canada’s colonial legacy and learning...Read More
CAPACOA's pre-budget submission highlights just how far the live performance sector remains from recovery. The submission articulates seven recommendations for the upcoming 2022 federal budget.
A year ago, CAPACOA launched a series of international conversations by artists and presenters/producers/curators in lockdown. Canadians were joined by their counterparts from South America, Mexico, Scotland and Asia to meet, discuss their lockdown situations, share their practices and most importan...Read More
CAPACOA, in partnership with Open North, launched their report “A Promising Path to Developing Data Governance in the Performing Arts Sector”.
While the Canadian economy as a whole almost fully recovered from the impact of the COVID-19 pandemic, the culture sector still lags behind.
CAPACOA recently held a fascinating town hall on the theme On the Path to Recovery: Are Mandatory Vaccines for Audiences in the Mix? As a complement to the recap of this discussion, here are recent findings about culture goers’ attitudes regarding vaccination.
As the performing arts sector opens its doors and welcomes back audience members, performing arts presenters are eager to determine how they can keep patrons safe, but creating safety protocols proves to be a logistical nightmare. One such protocol has been hotly debated – mandatory proof of vaccina...Read More
In these times of reopening borders, with theatres and concert halls in many countries welcoming audiences, we want to raise the question of the mobility of Canadian artists.