Making ends meet on the minimum wage, which stands at 1,050 euros, has grown increasingly tough as prices rise. Consider earning only 12,000 euros gross per year and trying to cover life’s essentials. This is the daily reality for many in the sector. A recent socio-labor survey presented by the AISGE Foundation paints a troubling picture: a large share of actors and performers struggle to sustain a livelihood from their craft. Compared with the 2016 AISGE report, the portion of people earning a living from their art has fallen, and the number earning over 30,000 euros annually has slipped by 1.17 percentage points this year. The data underscore the harsh conditions facing those who work in cinema, television, and theater, where pursuing acting as a sole source of income remains exceptionally difficult. Nearly half of respondents—48%—earn less than 3,000 euros per year (68% in 2016), and only 23% surpass the 1,000-euro gross monthly mark (17% in 2016). Yet the study notes a real erosion of purchasing power: twelve thousand euros today equates to roughly 9,926 euros in 2016, illustrating how inflation has eaten into earnings. AISGE President Emilio Gutiérrez Caba emphasizes that the aim is not alarm but transparency: the sector’s realities must be understood by society, and there is still a long way to go before art can be a reliable full-time profession in Spain.
These figures are especially stark for those entering or remaining in the performing arts. About 44% of respondents live below the poverty threshold, with income aligning with the national average while 2022 data show a 20.4% rate of poverty. Consequently, 52% of artists say they rely on a secondary income, up from 46% in the past, indicating a broader pattern of financial strain. Perhaps most troubling is that three-quarters of the respondents have never returned to acting in some period, highlighting volatile, non-continuous work in the field.
There is no room for women
Gender disparities are stark. Women in the sector face worse economic outcomes than their male peers in acting and dance, earning 40.3% less on average for comparable work. The gender gap is compounded by insecurity within the field: 29% of women earn less than 600 euros per year, compared with 21% of men. Consequently, 54% of women report taking a second job, compared with 49% of men. While the reasons behind this divide are not completely clear, AISGE points to potential restrictions in gender-based roles and responsibilities, including birth and caregiving duties, as contributing factors.
Workdays also reveal inequality. Women report an average of 62 working days per year, versus 70 for men. In 2021, 17% of women did not work any day at all, higher than the prior year, and only 27% worked fewer than two weeks, compared with 22% of men. Abel Martín Villajero, AISGE’s general manager, calls these findings among the most distressing in the study: even if pay is equal on paper, fewer hours translate into lower earnings, perpetuating the gap in a meaningful way.
Vermouth and Ravelo cases bring Spanish #MeToo to light: other harassment complaints in cinema
The study of sexual harassment in the industry has gained momentum with recent allegations involving directors Vermut and Ravelo. While not the sole issue, harassment is increasingly acknowledged, though comfort in reporting remains fragile. AISGE stresses the importance of dignity and concrete protection for victims: there is a clear call to report abuse and to resist exploitation, whether financial or sexual. The organization reiterates its willingness to support victims and to ensure accountability.
Artificial intelligence threat
A separate concern is the impact of artificial intelligence on artistic work and the broader audiovisual economy. A striking 84% of respondents view AI as a threat. Voices and on-camera performance resources are perceived to be affected, with actors noting changes in working conditions and opportunities. The impression among dancers and theater artists is more guarded but present. The core message from AISGE is the need to strike a balance where culture and technology coexist, and to safeguard intellectual property through robust collective rights management.
Finding middle ground is the priority, as Martín Villajero notes: solutions must let culture flourish alongside technological progress. Strengthening collective management of rights and protecting performers’ copyrights are essential steps in ensuring fair compensation and sustainable careers for artists.
Most representative study
The AISGE report represents the fourth wave in a series that began with foundation-led surveys in 2004, 2011 and 2016, with a mid-2020 update to assess Covid-19’s impact on artist collectives. The latest study draws on diverse sources: an online survey with 3,410 participants (39% of AISGE members), six focus groups in major cities across the country with participants from various artistic sectors and age groups, plus documents and analyses collected by AISGE on distribution, collection, and sector status. The methodology aims to capture a broad, representative picture of economic and professional conditions in the arts. Marked by a commitment to transparency and accountability, the study seeks to illuminate the realities faced by performers and to inform policy and industry practices for a healthier ecosystem.