Making ends meet by earning the minimum wage (1,050 euros) has become challenging, especially after the rise in prices. Imagine how difficult it is to meet basic needs if your salary is 12,000 Euros gross per year. This is the scenario that 77 percent of actors in our country face every day. AISGE Foundation’s socio-labor research presented this Wednesday. The data is not encouraging for the sector. In fact, when we compare it with the last report prepared in 2016, the rate of those making a living from their profession was 8.17 percent. This year, The proportion of those receiving aid of more than 30,000 Euros per year decreased by 1.17 percentage points.
These are devastating figures for those for whom the doors of cinema, TV series and theater are open and for whom it is very difficult to devote themselves solely to this profession. Almost half of those surveyed 48 percent earn less than 3,000 euros a year (68% in 2016) and Only 23% of those exceeding the gross monthly limit of 1,000 euros (17% in 2016). But this apparent increase “translates into a real decrease in purchasing power”: seven years ago 12,000 euros was now equivalent to 9,926 euros due to the constant increase in prices. According to the AISGE president, Emilio Gutierrez CabaIts purpose is not to alarm, but to bring the reality of the industry closer to society: “There is still a long way to go, Making a living in the arts remains extraordinarily difficult in Spain”.
So much so that 44 percent of the survey participants are below the poverty line: Their income is as much as the country’s average income and will be 20.4 percent in 2022. Therefore, 52% of artists claim that they had to resort to a remedy. second source of incomeThis rate also increases compared to the previous 46%. Now the most striking fact is that three quarters never return to acting.
There is no room for women
If we talk about differences between genders, women are the ones most affected by this. Their economic data is worse than male actors and dancers because they receive 40.3% more money for their work. The women’s sector is at the extreme end of insecurity, as 29% of respondents earn less than 600 euros a year, compared to 21% for men. From here Women are forced to apply for a second job, 54% compared to 49% for men. The reasons leading to this difference are not clear, but the AISGE considers the hypothesis that there are fewer roles for them and also gender obligations (motherhood, childcare or dependents).
Moreover, they work fewer days throughout the year; The average is 62 days, theirs is 70. The majority of the group who did not manage to work any day in 2021, 17% (12% in male gender) and those that do not exceed two weeks (27% and 22%). Abel Martín Villajero, general manager of the report, describes this fact as one of the saddest data in the study: “There is a huge wage gap, data we do not like at all, but it is what it is. . “There is no different remuneration, but the fact that they work less hours and therefore receive less money is effective.”
About the subject sexual harassmentThe work, which has come to the fore recently due to complaints against directors Carlos Vermut and Armando Ravelo, reflects that this is not an isolated reality. This is the first time this issue is being talked about, but in a very timid way and with the fear of being revealed to the public. There is also more agreement on diagnosis among men. On the subject, Emilio Gutiérrez Caba noted the categorical rejection of AISGE and the support provided to victims: “Do not let anyone exploit you economically or sexually. We must report, dignity is above. “If there is someone attacking you, we are here,” he said.
artificial intelligence threat
Another problem that emerged was fear to The advancement of Artificial Intelligence and how it impacts artistic work and the entire audiovisual business model. 84% of respondents see this as a threat. It was observed that the working resources of voice actors were affected and their working conditions deteriorated significantly. Those in the image are also starting to perceive the arrival of artificial intelligence, albeit to a lesser extent. In the field of dance and theater, the effect is slower.
They state that the key from the foundation is: find the midpointAs Martín Villajero assures, “solutions must be found to ensure the optimal coexistence of culture and technology.” The importance of protecting intellectual property rights through the implementation of collective management systems for these rights was also emphasized.
Most representative study
The report, the fourth of these features the organization has encountered, refreshes the information provided by the previous three features that the Foundation’s Charity Zone introduced in 2004, 2011 and 2016, with a study added in the summer of 2020 to measure impact. Effects of the first wave of COVID-19 on artist collectives included in AISGE.
The information sources used are an internet search. 3,410 people participated (39% of people associated with this organization), six discussion groups in various cities across the country, featuring artists from different professional sectors and age groups. In addition, various documents and analyzes compiled from AISGE regarding collection, distribution and the status of the sector were used.