If the impact of COVID-19 on the Culture and Creative industries is severe, it would be incorrect to say that before the crisis, the situation was still bright. Based on a report by Ernst & YoungIndustry as a whole is trending upwards, but if an employee-based perspective is applied, the picture changes slightly.
In fact, the same report also highlights how the CCI region relies heavily on atypical employment contracts and short-term jobs. Looking at the latest Eurostat data one can see in 2019, I am self-employed in the cultural domain it accounts for nearly half of all jobs in the cultural sector in the Netherlands (47%) and in Italy (46%). Among the member states with higher rates of culturally free workers than the EU average (32%), there are also Greece (38%), the Czech Republic (37%), Ireland and Spain (both). 34%) and Germany (33%). Freelance jobs often come with individuals in the labor market more vulnerable. And in many EU countries, being a freelancer means not benefiting from generous welfare policies aimed at ordinary employees.
This implies that workers from CCI in the EU are structurally more precarious than others even before COVID-19 impacted the sector.
“In Europe you have at least 500,000 professional musicians, but not all of them are unions,” said Benoît Machuel, general secretary of the International Federation of Musicians (FIM). “Sometimes it’s really hard [to get unionised] if you are not an employee. If you are a freelancer, be competitive …