Some festival organizers in Montreal say rising costs and stagnant funding are putting art and cultural events at risk. At the Montreal Fringe Festival, executive and artistic director Amy Blackmore said that’s despite record-breaking numbers with attendance. “Everything just costs more,” she said. “We’re committed to paying our staff a living wage, and we still are, but it’s harder than ever.” Even with the success of this year’s festival edition, the organization will launch a public fundraising campaign to keep pace with growing costs. Her organization also recently shut down its home base, the MainLine Theatre on Saint-Laurent Boulevard, in part due to financial pressures. Blackmore said the festival has been receiving the same amount of provincial funding since at least 2006, and it hasn’t kept up with the current economic reality. The pressure to raise money to keep events going is something Suzanne Rousseau understands. The executive director of Festival international Nuits d’Afrique said 14 veteran festivals — all more than 20 years old — have been meeting regularly to discuss long-term sustainability. “These are cultural festivals, not commercial ones,” she said. “We need support to make that culture accessible.” She said expenses have surged in the years since the pandemic, with production costs having gone up by 40 per cent. Rousseau said provincial grants have remained largely frozen at pre-2019 levels. “When you’ve built something slowly over time, you can’t just go backwards,” she said. “It’s not good for the festival or for the public.” Next year will mark Nuits d’Afrique’s 40th edition, and Rousseau said securing proper funding will be critical to ensuring a legacy. “Montreal is known for its free festivals,” she said. “They bring tourists, they feed the economy — but that’s not always reflected in the funding decisions.” Funds growing, says government Quebec’s Ministry of Tourism said the province supports more than 300 events through its Aide financière aux festivals et aux événements touristiques program, including 57 in Montreal in 2024–2025. “Festivals and events are part of Quebec’s brand image and an important attraction for international visitors,” said spokesperson Jean-Manuel Téotonio in a statement. “That’s why the ministry is doing its part.” In the latest provincial budget, the total envelope for the program is set to grow to $140.4 million between 2026 and 2030 — an increase of $5 million per year compared to 2025–2026. Téotonio also noted that other ministries and regional partners, such as Tourisme Montréal and the Ministry of Culture and Communications, offer additional support. But, festivals like the Montreal Vocal Arts Festival that don’t qualify for the same programs are feeling the squeeze. Marc-Antoine d’Aragon, executive director of the Canadian Vocal Arts Institute, which produces the festival, said the event doesn’t meet eligibility requirements for major public funding programs because it operates more like a training institute than a traditional event producer. “We give scholarships to young professionals equivalent to their performances,” he explained. “They perform at an exceptional level, but we’re not considered a production company.” As a result, d’Aragon said the festival relies on private donors and corporate sponsors for 90 per cent of its revenue. But those contributions have declined in recent years. He’s adapted by forming partnerships — including one with the Orchestre de la francophonie — and cutting rental costs by performing at Université de Montréal, where the festival is in residence. “There are always ways to make the budget work,” he said. “But you need to be creative.” Blackmore hopes that spirit of collaboration will catch on. While she said bigger festivals might have more secure funding, she believes smaller events need to coordinate more closely and be consulted more directly. More than entertainment François Chevrier is the executive director of Événements Attractions Québec, a network representing hundreds of events across the province. He said Quebec’s more than 500 festivals are fueled by passion — but financial realities are catching up. “We’ve seen production costs go up by 30 to 40 per cent over the last five years,” said Chevrier. “And even when provincial funding increases, it doesn’t match the rate of inflation.” He said his organization found that about half of festival revenue comes from activities, such as ticketing and food sales, while another quarter comes from private sponsorships. “To maintain the quality and diversity of what we offer, we need help from all three levels: the public, the private sector, and the government,” he said. Rousseau agreed and said Montreal’s identity is on the line. “Festivals contribute to our Canadian identity, our original way of doing things,” she said. “We can’t lose that. There’s still hope, but we have to find new ways to move forward together.”
