Official Statistics

Community and Engagement Survey 2025/26 - arts: report

Updated 14 August 2026

Applies to England

This report summarises the key findings for the arts sector in the Community and Engagement Survey (CES) for 2025/26.^{[footnote 1]} Reports for other sections within the CES are available on the annual web page. 

The CES asked about physical engagement with the arts, such as reading or attending a live comedy event, and digital engagement with the arts, such as watching a live comedy event or recorded theatre. The full list of included arts activities and events we asked about in the CES are in Annex A.

The CES is representative of people aged 16 and over in England. For simplicity, we will sometimes refer just to “people” in our reporting.

For information on how to use and interpret these statistics see the note available on the supplementary documents page.^{[footnote 2]}

1. Key findings

1.1 Headline

84% of people aged 16+ engaged with the arts at least once in the last 12 months, a 6 percentage point decrease from 2024/25 (91%).[^3]

83% of people aged 16+ engaged with the arts physically at least once in the last 12 months, a 6 percentage point decrease from 2024/25 (90%).

By local authority, there was a 25 percentage point difference in the proportion of people who physically engaged with the arts sector, from 94% in Horsham to 69% in Barking and Dagenham.

36% of people aged 16+ engaged with the arts digitally at least once in the last 12 months, a 1 percentage point increase from 2024/25 (35%).

By local authority, there was a 20 percentage point difference in the proportion of people who digitally engaged with the arts sector, from 45% in Brighton and Hove to 25% in Leicester. 

1.2 Physical and digital engagement

As shown in Figure 1, of the 84% of people who engaged with the arts, 35% engaged both physically and digitally, 49% of people engaged exclusively physically, while only 1% of people engaged exclusively digitally.

Figure 1: Physical and digital engagement with the arts sector: England: 2025/26 (Base: All people aged 16 and over)

1.3 Timeseries

As shown in Figure 2, overall engagement with the arts rose from 2021/22 (85%) to 2023/24 (91%) where it peaked, followed by a small, but significant decrease in 2024/25 (91%) and a further decrease to 84% in 2025/26.

Breaking this down by physical and digital engagement over time, physical engagement with the arts peaked in 2023/24 (90%) and has since decreased in 2025/26 (83%). Digital engagement with the arts increased from 2021/22 (27%) to a peak of 36% in 2023/24, but has since decreased to 35% in 2025/26, a 1 percentage point decrease from 2024/25 (35%).

Note: There are considerable changes in the confidence intervals between each year due to the sample size of the survey. Where the sample has been boosted, the confidence intervals will narrow to reflect higher confidence in the estimates.

Figure 2: Engagement with the art sector: England: 2021/22 to 2025/26 (Base: All people aged 16 and over)

1.4 Frequency of engagement^{[footnote 4]}

As shown in Figure 3, respondents who engaged with the arts were asked about the frequency of their engagement with each event or activity. Three in five people reported that they engaged with an art form physically at least once a week (60%). A third (33%) of people reported that they engaged with an art form digitally less often than once a month but at least three or four times a year.

Figure 3: Most frequent level of physical and digital engagement with an art form: England: 2025/26 (Base: People aged 16 and over who physically or digitally engaged with the arts)

1.5 Forms of physical engagement

As shown in Figure 4, the most popular way to engage with an arts event was attending a cinema screening of a film or movie (51%). The most popular way to participate in an arts activity physically was reading books, graphic novels or magazines (56%).

Figure 4: Forms of physical engagement with the arts sector: England: 2025/26 (Base: All people aged 16 and over)

51% of people reported going to the cinema. Of those who reported going to the cinema and responded to the survey online,^{[footnote 5]} the most popular film types were Mainstream Hollywood Films (77%), British films with mainly a British cast or locations (31%), and Animated films (24%).

1.6 Forms of digital engagement

As shown in Figure 5, the most popular way to engage with the arts digitally was watching a pre-recorded music or dance event (19%).

Figure 5: Forms of digital engagement with the arts sector: England: 2025/26 (Base: All people aged 16 and over)

1.7 Forms of digital payment^{[footnote 6]}

As shown in Figure 6, for those who digitally engaged with arts, the most popular payment methods were accessing paid content for free using other methods (46%) and paying for content through a TV license fee (43%).

Figure 6: Forms of payment for digital content: England 2025/26 (Base: People aged 16 and over who digitally engaged with the arts)

As shown in Figure 7, nearly 2 in 5 people (39%) reported that they “played video games including on a smartphone or tablet”. 44% of these people had reported paying for video games. The most popular way of paying for video games was purchasing a game for extra content like new levels, characters, or features such as expansion packs (27%). The second most popular way was paying for a subscription, such as a game pass or to play with others online (19%). 42% of people had not spent any money whilst playing video games online in the last 12 months.

Figure 7: Money spent while playing video games: England: 2025/26 (Base: People aged 16 and over who played video games including on a smartphone or tablet)

1.8 Barriers to engagement

As shown in Figure 8, respondents who did not engage with the arts were asked about the barriers preventing them from engaging. For physical engagement, “No reason in particular” (28%) was the most common barrier reported, followed by 25% of people who reported “I cannot afford it”. For digital engagement, 43% of people reported “No reason in particular” as a barrier to engagement, followed by 21% of people who reported “I cannot afford it”.

Figure 8: Barriers to engagement with the arts sector by reason: England: 2025/26 (Base: All people aged 16 and over who did not engage with the arts)

Respondents who reported that they were “not interested in cultural or art activities”, were asked a follow up question on the reasons why they were not interested in cultural or arts activities. 50% reported that “I’m just not interested in cultural or arts activities”, followed by “I don’t have any artistic, creative or cultural skills” (26%).

2. Demographics: Who engaged with arts

Demographic questions in the survey are voluntary and self-reported by the respondent.

2.1 Age

As shown in Figure 9, compared to the average for people in England (83%), people aged 45 to 49 (85%), 50 to 54 (85%), 55 to 59 (86%), 60 to 64 (88%), 65 to 69 (88%), 70 to 74 (89%), 75 to 79 (89%) and 80 to 84 (88%) were more likely to engage with the arts. People aged 16 to 19 (79%), 20 to 24 (79%), 25 to 29 (80%), 30 to 34 (81%), 35 to 39 (82%) and 85 and over (80%) were less likely to physically engage with the arts compared to the average for people in England (83%). 

As shown in Figure 9, compared to the average for people in England (36%), people aged 45 to 49 (38%), 50 to 54 (39%), 55 to 59 (39%), 60 to 64 (40%), 65 to 69 (39%), 70 to 74 (39%) were more likely to digitally engage with the arts. People aged 20 to 24 (33%), 25 to 29 (33%), 30 to 34 (33%), and 35 to 39 (33%), 80 to 84 (33%), and 85 and over (26%) were less likely to digitally engage with the arts compared to the average for people in England (36%).

Figure 9: Physical and digital engagement with the arts sector, by age, England: 2025/26 (Base: All people aged 16 and over)

2.2 Disability status

As shown in Figure 10, non-disabled people (86%) were more likely to physically engage with the arts compared to disabled people (84%). 

As shown in Figure 10, non-disabled people (37%) were more likely to digitally engage with the arts than disabled people (36%).

Figure 10: Physical and digital engagement with the arts sector, by disability status, England: 2025/26 (Base: All people aged 16 and over)

2.3 Sex^{[footnote 7]}

As shown in Figure 11, females (87%) were more likely to physically engage with the arts than males (82%).

As shown in Figure 11, males (36%) were more likely to digitally engage with the arts than females (35%).

Figure 11: Physical and digital engagement with the arts sector, by sex, England: 2025/26 (Base: All people aged 16 and over)

2.4 Gender identity^{[footnote 8]} 

As shown in Figure 12, people whose gender identity was different from their sex registered at birth (91%) were more likely to physically engage with the arts than people whose gender identity was the same as their sex registered at birth (84%).

As shown in Figure 12, people whose gender identity was different from their sex registered at birth (48%) were more likely to digitally engage with arts than people whose gender identity was the same as their sex registered at birth (36%). 

Figure 12: Physical and digital engagement with the arts sector, by gender identity, England: 2025/26 (Base: All people aged 16 and over)

2.5 Sexual orientation^{[footnote 9]}

As shown in Figure 13, bisexual people (92%) were more likely to physically engage with the arts than gay or lesbian people (88%), people from the “Other sexual orientation” classification (86%) and heterosexual or straight people (85%). 

As shown in Figure 13, heterosexual or straight people (36%) were less likely to digitally engage with the arts than bisexual people (48%), gay or lesbian people (47%) and people from the “Other sexual orientation” classification (45%).

Figure 13: Physical and digital engagement with the arts sector, by sexual orientation, England: 2025/26 (Base: All people aged 16 and over)

2.6 Religion

As shown in Figure 14, compared with the average for people in England (83%), people from the Any other religion classification (91%), Jewish people (88%), Christian people (87%), and people who reported having no religion (85%) were more likely to have physically engaged with the arts. Hindu people (77%), Sikh people (67%), and Muslim people (65%) were less likely to have physically engaged compared with the average for people in England (83%).

As shown in Figure 14, compared with the average for people in England (36%), Buddhist people (48%), Jewish people (47%), people from the Any other religion classification (44%), Christian people (37%), and people who reported having no religion (36%) were more likely to digitally engage with the arts. Sikh people (28%) and Muslim people (23%) were less likely to digitally engage with the arts compared with the average for people in England (36%). 

Figure 14: Physical and digital engagement with the arts sector, by religion, England: 2024/25 (Base: All people aged 16 and over)

2.7 Ethnicity

As shown in Figure 15, compared with the average for people in England (83%), people from the White Irish (89%), White British^{[footnote 10]} (87%), Mixed White and Asian (87%), Any other White background (87%), Any other Mixed background (89%) ethnic groups were more likely to physically engage with the arts. People from the any other Asian background (79%), Black African (77%), White and Black Caribbean (77%), Indian (73%), Arab (72%), Bangladeshi (64%), Pakistani (62%), and White Gypsy or Irish Traveller (69%) ethnic groups were less likely to physically engage with the arts.

As shown in Figure 15, compared with the average for people in England (36%), people from the White Gypsy or Irish Traveller (54%), White Irish (46%), Any other Mixed or Multiple ethnic background (44%), White and Black African (43%), White and Asian (42%), Black Caribbean (41%), Any other ethnic group (41%), Chinese (41%), Any other White background (39%), and Black African (39%) ethnic groups were more likely to digitally engage with the arts. Compared with the average for people in England (36%), people from the Indian (31%), Bangladeshi (22%), and Pakistani (21%) ethnic groups were less likely to digitally engage with the arts. 

Figure 15: Physical and digital engagement with the arts sector, by ethnicity, England: 2025/26 (Base: All people aged 16 and over)

2.8 Socio-economic classification^{[footnote 11]}

As shown in Figure 16, people from the higher managerial, administrative and professional occupations classification (92%) were more likely to physically engage with the arts compared to people from the intermediate occupations classification (88%) and people from the routine and manual occupations classification (80%). People from the never worked and long-term unemployed classification (66%) were less likely to physically engage with the arts compared to all other socio-economic classifications.

As shown in Figure 16, people from the higher managerial, administrative and professional occupations classification (43%) were more likely to digitally engage with the arts compared to people from the intermediate occupations classifications (37%), and routine and manual occupations classifications (31%). People from the never worked and long-term unemployed classification (27%) were less likely to digitally engage with the arts compared to all other socio-economic classifications.

Figure 16: Physical and digital engagement with the arts sector, by socio-economic classification, England: 2025/26 (Base: All people aged 16 and over)

2.9 Index of multiple deprivation^{[footnote 12]}

As shown in Figure 17, people from the most deprived areas (1st decile, 70%) were less likely to physically engage with the arts compared to people from the least deprived areas (10th decile, 91%). Similarly, people from the most deprived areas (1st decile, 27%) were less likely to digitally engage with the arts compared to people from the least deprived areas (10th decile, 41%).

Figure 17: Physical and digital engagement with the arts sector, by Index of Multiple Deprivation, England: 2025/26 (Base: All people aged 16 and over)

3. Physical engagement with arts by ITL1 and local authority area

3.1 Regional differences^{[footnote 13]}

As shown in Figure 18, compared with the average for people in England (83%), people living in the South West (88%) South East (87%), and the East of England (85%) ITL1 areas were more likely to physically engage with the arts. People living in London (82%), North West (82%), Yorkshire and The Humber (82%), North East (81%), and West Midlands (79%) ITL1 areas were less likely to physically engage with the arts compared with the average for people in England (83%).

3.2 Local authority differences^{[footnote 14]}

By local authority, there was a 25 percentage point difference in the proportion of people who physically engaged with the arts sector, from 94% in Horsham to 69% in Barking and Dagenham.

The proportion of people who engaged with the arts sector physically was in line with the England average in 151 (51%) local authorities, above the England average in 88 (30%) local authorities, and below the England average in 56 (19%) local authorities.

Figure 18: Physical engagement with the arts sector by ITL1 and LA area: England 2025/26 (Base: All people aged 16 and over)

4. Digital engagement with arts by ITL1 and local authority area

4.1 Regional differences^{[footnote 13]}

As shown in Figure 19, compared with the average for people in England (36%), people living in London (38%), South East (37%), and the South West (37%) ITL1 areas were more likely to digitally engage with the arts sector. People living in Yorkshire and the Humber (34%), East Midlands (33%), West Midlands (32%), and the North East ITL1 areas were less likely to physically engage with the arts compared with the average for people in England (36%).

4.2 Local authority differences^{[footnote 14]}

By local authority, there was a 20 percentage point difference in the proportion of people who digitally engaged with the arts sector, from 45% in Brighton and Hove to 25% in Leicester. 

The proportion of people who engaged with the arts sector digitally was in line with the England average in 229 (78%) local authorities, above the England average in 32 (11%) local authorities, and below the England average in 34 (12%) local authorities.

Figure 19: Digital engagement with the arts sector by ITL1 and LA area: England 2025/26 (Base: All people aged 16 and over)

5. Annex A

The respondent was asked whether they had participated in a given list of arts activities, or attended a given list of arts events (not including paid work, school or college or structured academic activities). Eligible activities and events were as follows: 

5.1 Physical participation:

• written stories, plays, or poetry
• read books, graphic novels or magazines
• written, practiced or performed music
• painting, drawing, printmaking, calligraphy, colouring
• crafts (textile, ceramic, sculpting, carving, woodwork)
• choreographed or performed a drama or dance routine
• designed or programmed video games including on a smartphone or tablet
• made films or videos as a hobby including original animations
• photography as a hobby
• read news in a national printed newspaper
• read news in a local printed newspaper
• other art or creative activities at home

5.2 Physical attendance: 

• an exhibition of art, photography or sculptures
• a theatre play, drama, musical, pantomime, ballet or opera
• an event connected with literature, books, reading, poetry reading or writing
• a cinema screening of a film or movie
• a craft exhibition (not a crafts market; crafts include for example textiles, woodworking or ceramics)
• a live music event (for example, pop, jazz, electronic, choral, orchestra or folk)
• an arts festival and or carnival (for example, a food, craft or other cultural event)
• a street art event 
• a live dance event (for example, contemporary, world, street or ballroom)
• a fashion show
• a comedy event
• an in-person esports contest or video game competition event 
• some other cultural event in England

5.3 Digital engagement: 

• a live arts event including theatre, visual arts or literature
• a pre-recorded arts event including theatre, visual arts or literature
• a live music or dance event, watched as it was happening
• a pre-recorded music or dance event

1. The headline physical and digital art engagement estimates are based on data collection from April 2025 to March 2026 through the Participation Survey (April to September 2025) and the Community and Engagement Survey (October 2025 - March 2026). However the sample size is considerably larger for the latter 6 months through the Community and Engagement Survey and therefore the estimates are biased towards responses collected from October 2025 to March 2026. ↩

2. The majority of estimates in this report are rounded to the nearest whole number. As data are rounded, some changes may appear bigger or smaller than they are. The unrounded numbers are available in the corresponding data tables. ↩

3. This denotes the most frequent level at which people engaged with a sector. For example, if a respondent engaged in three types of activities or events “Less often than once a month but at least 3 or 4 times a year”, and in a fourth activity or event “Less often than once a week but at least once a month”, then that person’s frequency of engagement is considered as “Less often than once a week but at least once a month”. ↩

4. This follow up question was not included in the paper questionnaire and was asked of respondents online, so the results are only representative of the online population. Respondents are able to select multiple film types. ↩

5. This question was not included in the paper questionnaire and was asked of respondents online, so the results are only representative of the online population. Respondents are able to select multiple forms of payment. ↩

6. This data is based on the respondent’s sex. The Community and Engagement Survey respondents were asked the question “What is your sex?”. The response options were ‘Male’, ‘Female’ and ‘Prefer not to Say’. This closely follows the ONS Census 2021 question for sex, where the target concept was certificated sex meaning a person’s sex at birth or as modified by a Gender Recognition Certificate (GRC), but has been slightly amended to include a ‘Prefer not to Say’ option as we do for all demographic questions in the Community and Engagement Survey. ↩

7. This data is based on the respondent’s gender identity. The Community and Engagement Survey respondents were asked the question ‘Is the gender you identify with the same as your sex registered at birth?. The response options were ‘Yes’, ‘No, type in gender identity’ or ‘Prefer not to say’. This closely follows the ONS Census 2021 question for England and Wales, but has been slightly amended to include a ‘Prefer not to Say’ option as we do for all demographic questions in the Community and Engagement Survey. It should be noted that in the Census 2021 data for England and Wales, patterns were identified that suggest that some respondents may not have interpreted the question as intended, notably those with lower levels of English language proficiency. Analysis of Scotland’s Census 2022, where the gender identity question was different, has added weight to this observation. More information can be found in the ONS sexual orientation and gender identity quality information report and the additional guidance and quality information for users of gender identity estimates from Census 2021 in England and Wales. Similar respondent error may have occurred during the data collection for these statistics so comparisons between subnational and other smaller group breakdowns should be considered with caution. ↩

8. Sexual orientation is an umbrella term covering sexual identity, attraction, and behaviour. For an individual respondent, these may not be the same. For example, someone in an opposite-sex relationship may also experience same-sex attraction, and vice versa. This means the statistics should be interpreted purely as showing how people responded to the question, rather than being about whom they are attracted to or their actual relationships. ↩

9. The White British ethnic group includes people from an English, Welsh, Scottish, Northern Irish or British ethnic group ↩

10. This is a form of socio-economic classification based on the employment status and occupation of the respondent. ↩

11. The Index of Multiple Deprivation is a geographical measure which classifies the relative deprivation of an area. It combines seven indices to produce one overall measure for the area (rather than the individual). It takes into account income, employment, education, skills and training, health and disability, crime, barriers to housing and services, and living environment. For this commentary, the most and least deprived deciles have been compared. There may be some other significant differences between deciles in between which have not been commented on here. The analysis of the index of Multiple Deprivation was conducted using the 2025 Index of Multiple Deprivation. ↩

12. Data are also available by ITL2 area level and combined authority level in the corresponding data tables. ↩ ↩²

13. The 2025/26 Community and Engagement Survey includes over 175,000 responses, so confidence intervals are generally very narrow. Whilst this reflects a strength of the data, when highlighting differences, some local authorities may be shown to be above/below the England average, but are only a percentage point more or less than the average. There will be other local authorities who are much higher or lower than the England average, but will both be shown in the same shading within the map. ↩ ↩²