1. The covid-19 outbreak has led governments to close all live performance venues and prohibit open-air concerts as soon as their countries were hit by the pandemic. Three months later, these measures have brought the music sector to its knees. Where financial support has been made available for musicians, orchestras or ensembles, it is generally limited in size, scope and duration. In many cases, musicians are not eligible to any support.
2. There is a common desire of musicians, employers and audiences to re-open concert halls as soon as possible, to allow the artistic activity to resume. Read full post
European Social Partners of the Live Performance Sector call for a coordinated action plan to secure the recovery and sustainability of the European cultural sector
PEARLE*- Live Performance Europe representing over 10 000 organisations and the EAEA – European Arts and Entertainment Alliance, representing more than 150 unions, guilds, and associations and over 600 000 performers, technicians and staff in the music, performing arts and live sector – are calling on the EU institutions and national governments to adopt a coordinated approach including short-term support measures and long-term investment to save the European cultural sector amid a resurgence of the Covid-19 pandemic across Europe. Read full post
Since he left the Presidential political party, Cameroonian musician Roméo Dika – also president of musicians union SYCAMU and FIM Vice President – has been the subject of serious intimidation in his country. Today, he fears for his safety and that of his family.
As well as freedom of expression, freedom of opinion is an essential value in Democracy. Like the entire trade union movement, FIM is deeply attached to the protection of this fundamental freedom and wishes to express here its most profound concern. Read full post
The figures published by the industry are clear: since 2012, the music streaming market has been progressing continuously. This growth is accelerating year after year, in a spectacular way. In the United States, streaming-generated revenues for 2019 exceeded the total recorded music market for 2017 (RIAA data). The trend is the same on the British market, where figures for 2019 set new records: for the first time, the annual number of streams exceeded 100 billion (BPI data).
As the streaming economy develops, the questions grow as to the way in which revenues are divided between the various sector players. Read full post
Throughout the world, live entertainment is undergoing serious constraints, following government decisions taken in response to the Covid-19 pandemic. These constraints have brought about a drop in resources and serious disorganisation of programmes, in particular where symphony orchestras or operas are concerned.
In the face of such an unprecedented situation, it is essential for all stakeholders to work together to come up with suitable strategies, in order both to protect jobs and the missions of these institutions, over the short, medium and long terms. Read full post
The Covid-19 crisis has hit music performers hard. Gigs have been cancelled, festivals and performances postponed, and recording studios closed. It has brought into sharp relief the fact that musicians are sustained primarily by income generated by the live side of the music business and that streaming royalties are woefully insufficient.
It would take 53 million Spotify streams to break even on a € 24,000 loss, a figure that is unattainable for most musicians. In the UK, one in five respondents to an MU survey said they were considering leaving music altogether. Read full post
This ILO brief highlights the impact of COVID-19 on the media and culture sector, hit hard by unemployment and closed productions.
It analyses how the sector’s diversity in terms of contract types and occupations creates challenges in accessing social protection, safety and health, and economic relief programmes.
The brief also offers policy options, drawing from countries’ examples and initiatives from workers’ and employers’ organizations, to mitigate the economic impact of the pandemic on the sector.
This Handbook on Trade Union Organising is the outcome of a joint project by FIM, FIA, EURO-MEI and the European Federation of Journalists (EFJ). The project, entitled “Reaching the Full Potential of Social Dialogue for Atypical Workers” focused on the challenge of union representation of workers in the Media, Arts and Entertainment sector, who are freelance, self-employed or otherwise atypical workers.
The project was funded via the European Commission’s DG Employment and Social Affairs budget line for Information and Training Measures for Workers’ Organisations. Read full post