Performing arts groups have been lobbying the government to create a new live performance tax credit. Let’s hope the finance minister mentions this proposal in his economic statement because it truly is an investment for all, not just one gender or one region.

By Sheila Copps
First published in The Hill Times on April 27, 2026.

OTTAWA—A little-known study published last year by the Canadian Chamber of Commerce laid to rest the myth that cultural spending is a drain on federal finances.

On the contrary, the report, entitled Artworks: The Economic and Social Dividends from Canada’s Arts and Culture Sector, reported that, in 2024, the arts and culture sector contributed $65-billion in direct gross domestic product to the Canadian economy.

Conducted by the Canadian Chamber of Commerce’s Business Data Lab, and commissioned by Business/Arts along with the Canada Council for the Arts, Artworks also pointed out that, from 2022 to 2025, spending in arts and culture increased at a rate almost double the general Canadian sectoral growth.

On the international scene, this country sold almost $25-billion in goods and services globally.

According to the report, since 2011, arts-sector spending growth has outpaced all other sectors, including oil and gas, construction, wholesale and retail trade and manufacturing.

Most important for the Department of Finance is that the sector generates $17-billion in federal and provincial taxes.

So why is it, that when the conversation turns to the economy, our attention is focused not on this growth sector, but on other sectors like fossil fuels, auto, and construction?

Principal economist for the Canadian Chamber of Commerce Andrew DiCapua had this to say about government investment in the sector: “The arts and culture sector generates $29 in economic activity for every dollar in federal investment—that’s an extraordinary return in addition to the social benefits that the sector generates. Yet, we’re seeing concerning trends in both public and private funding. If we want to maintain Canada’s cultural competitiveness and harness this sector’s full economic potential, we need sustained, strategic investment.”

Prime Minister Mark Carney has a chance to advance cultural investment in the economic update that his government will be tabling this week.

The Build Communities Strong funding is definitely intended to boost jobs and grow the economy in infrastructure projects with a budget of $27.8-billion over the next decade. Those jobs will primarily go to men.

These investments tie in with Canada Strong, which was the government’s mantra until a new logo was launched at the recent Liberal national convention in Montreal.

The new mantra is Canada for All. This vision ties in beautifully with the Chamber of Commerce call for more investment in arts and culture.

Unlike other investments, government spending in arts and culture reaches out to almost every community in the country.

Festivals and Major Events Canada, the national organization representing everyone from Carnaval de Quebec to the Calgary Stampede, represents more than 500 festivals in communities across the country. That doesn’t include live theatre and music performances that multiply across the country during the summer season.

A coalition of performing arts organizations have been lobbying the government to create a new live performance tax credit. The credit is modelled after the wildly successful Canadian Film or Video Tax Credit which was launched by the government of Jean Chrétien back in 1995.

That 25-per-cent credit on the hiring of Canadian talent was the first of its kind in the world. It has been so successful that similar models have been launched in more than 40 countries around the world. It generates $3.40 in revenue for every dollar spent by the government.

A similar performing arts credit would generate $23 in local economic impact, so its accelerator value is huge. Why? Because when people attend performances, they often spend money in the community, with dinner or drinks before or after.

The government price-ticket on this live performance accelerator tax credit is $100-million annually over three years.

Government officials at multiple levels have been reviewing the proposal, but say it is too rich.

In comparison, the government uptick in military spending to meet NATO targets is $81-billion over five years.

A price tag of $300-million over three years is modest in comparison to the jobs and spending impact it will have on every community in the country.

Canada for All should mean that jobs are not happening only be in male-dominated sectors like the military and infrastructure construction.

A modest arts investment would reach out to every region and every community, with jobs for youth and women who are underrepresented in Canada Strong investments.

In the 10 years of conservative economic statements, the word ‘culture’ rarely appeared.

Let’s hope the finance minister mentions this modest tax credit proposal in his economic statement because it truly is an investment for all, not just one gender or one region.

If the Canadian Chamber of Commerce is promoting cultural investment, the government should be listening.

Sheila Copps is a former Jean Chrétien-era cabinet minister and a former deputy prime minister. Follow her on Twitter at @Sheila_Copps.

Artists who are out on the streets once again because of COVID lockdowns are lobbying furiously for a return to a full Canadian Emergency Response Benefit for their sector.

By Sheila Copps
First published in The Hill Times on January 6, 2022.

OTTAWA—Musical blockbuster Come From Away has already been seen by a million Canadians.

But if you missed the Canadian performance in Toronto, you won’t be able to see it in this country again.

The story of how the people of Newfoundland opened their hearts to passengers stranded by the downing of the World Trade Centre is reverberating around the world.

It is the most successful Canadian musical ever produced and has prompted a domestic theatre renaissance that has already spawned more live theatre offerings for the globe.

The numbers published by David Mirvish when he announced the shuttering over the Christmas week were indeed impressive.

The press release cited box office sales of $115-million, including over $15-million in HST.

Mirvish estimated the economic impact on the Toronto economy at $920-million.

Mirvish pointed a finger directly at government, “in other parts of the world, the government has stepped up to support the commercial theatre sector by offering a financial safety net for the sector to reopen and play during the pandemic, thus protecting the tens of thousands of good jobs the sector creates. That is the case in the U.S., the U.K., and Australia—where productions of Come From Away continue.”

But in Canada there is no such government support.

Mirvish’s holiday announcement provoked shock waves in Canada’s artistic community.

New Heritage Minister Pablo Rodriguez has been working feverishly to find a solution to the dilemma.

And artists who are out on the streets once again because of COVID lockdowns are lobbying furiously for a return to a full Canadian Emergency Response Benefit for their sector.

With all the theatres shuttered, it is impossible for the thousands of people who depend on live performance for their livelihoods to even feed their families.

Canada Council for the Arts CEO Simon Brault has emerged as a champion for those artists.

He has been working with unions representing the arts community trying to figure out the best solutions for support in these trying times.

But the question begs. If the city of Toronto garners almost a billion dollars in economic benefits from live performances, why are the arts treated like an afterthought in Canada’s COVID business support model?

For some reason, if you are manufacturing autos or pumping oil, your jobs are worth the full attention of governments.

If you are artists, bringing joy, perspective and global reach to the Canadian story, you are left picking up the scraps.

And it was always thus.

For some bizarre reason, commercial success in cultural industries has generally disqualified creators from government support.

There are government incentives and subsidies for book publishers, media content creators and community not-for-profit operations. But live commercial productions are generally left to their own devices as they are profit-making enterprises. However, governments help lots of industries in the name of economic development. Why exclude the cultural industries?

On the Hill, there is much discussion about how to turn this around. Not much is happening at Queens’s Park either even though the provincial capital is by far the largest beneficiary of commercial entertainment investment.

Some are discussing possible tax credits, which kickstarted a robust growth in Canadian film opportunities back in the nineties.

The tax credit introduced then has been replicated around the world, and it has been one of the best models for media content creation on the globe.

That credit was introduced by the Department of Finance, in tandem with Heritage, which begs the question. Where is Toronto-based Finance Minister Chrystia Freeland in this picture?

The cut to the CERB may have made some debt hawks on Bay Street happy. But it has devastated the creative sector, who continue to lobby for direct support for unemployed artists locked out of their places of employment by pandemic fiats.

Where, too, is the Department of Industry in this quest for solutions?

Francois-Philippe Champagne’s ministerial title is minister of innovation, science and industry. Surely the world of entertainment is built on innovation.

Before Come From Away, there was no real hope of developing a domestic theatre industry equivalent to London’s west end or Broadway.

But this magical story got Canada’s foot in the door for the creation of a whole new innovative industry, live theatre that actually makes money and entertains.

The brains behind innovation in Canada need to get together and find a solution to this gaping hole in public policy. All hands need to be on deck, including the prime minister’s office.

Come From Away should not have Gone Away.

Sheila Copps is a former Jean Chrétien-era cabinet minister and a former deputy prime minister. Follow her on Twitter at @Sheila_Copps.