Covid 19: What about the independent artists?

Monday, 11 October 2021

As the arts industry continues to experience crushing losses, it is asking for urgent financial support from the Government. (Audio first aired September 2021).

A response to this article from Creative New Zealand has been added as a footnote.

OPINION: Some would say that Covid-19 has had a devastating impact on our economy, society and well-being (physical, mental/emotional, spiritual, community), and while it has definitely exacerbated the issues, it’s more so highlighted major inequalities which already exist politically, socially, economically and, of course, environmentally.

One particular sector in Aotearoa that has struggled with the impact from Covid is the arts. Most artists know it’s always been a hugely problematic industry, but the continual lockdowns, postponements and/or cancellations of work have increasingly put the pressure on for artists – many of whom have lost jobs, contracts and their livelihoods with no form of safety net, other than the government subsidies.

There’s no worker protection. There’s little to no rights for independent contractors thanks to labour law changes in the 80s, and there’s no guarantee of income, so we’re left scrambling.

Amber Liberte believes that the independent arts sector has been let down by Creative New Zealand's Covid support response.

In Aotearoa, a 2018 Creative New Zealand study found that the median income for artists was $35,800 annually from all sources of work (so, not just arts work but a combination of retail, hospo, teaching, and whatever other side hustle we have going to make ends meet). Even worse, dancers in Aotearoa were living on a median income of $17,500 from all sources of income. Meanwhile, in the non-arts sectors, at the time of the Creative NZ study, the median income for New Zealanders was $51,800.

* Money with a framework needed to support artists and creatives

Creative NZ chief executive Stephen Wainwright says it’s limited by its funding.

* Art for art's sake, money for God's sake - how can Aotearoa fix its broken artist pay model?

Creative NZ is funded by the Ministry of Arts, Culture and Heritage and the New Zealand Lottery Grants Board. It’s made up of 79 staff members, plus assessors who are contracted in to assess application rounds.

According to Creative NZ’s annual 2019/20 report, chief executive, Stephen Wainwright was on an annual salary of $340,000-$349,999 (2019) and $310,000-$329,999 (2020) except for a six-month cut between May-September (2020) due to the impacts of Covid-19 – still an annual salary of $248,000-263,999.

That is roughly eight to nine times the 2018 median income for artists, and 17 to 20 times for that of dancers.

Some of the biggest frustrations of applying for Creative New Zealand funding is having to write applications unpaid, which can take 50 hours or more, alongside other weekly work in order to make ends meet.

Another is the janky, unforgiving application system catered to those who are strong reader-writers – but difficult for those who may have disabilities, are dyslexic, or are better at expressing their work through imagery, videos, discussions and other means. You’d think that as the main creative funding body of Aotearoa, they’d cater to that.

There are other frustrations – such as the lack of focus on “emerging” artists, young graduates who are wanting a step-up in the world.

The Basement Theatre is leading by example in redefining the idea of arts in New Zealand.

But the biggest frustration by far is the limitation of the funding for artists Creative New Zealand say they have, when the money is clearly being unfairly distributed.

Their recent and well overdue Delta relief package was a pittance. Their $5 million grant is planned to go to existing programmes – but what about the independent artists? They are the most vulnerable, the most severely impacted and the most commonly overlooked in policy, funding support networks, and future planning – especially live performers.

On top of that, no matter how you spin it, someone getting eight to nine times more than the average income of that industry is grossly wrong.

This kind of inequality becomes rapidly difficult to comprehend and some might say “boring,” but this is the kind of financial and hierarchical structure which needs challenging. In all sectors, but especially in the arts.

There’s a sense of bitter resentment from some older and more experienced artists when discussing the need for change in the New Zealand arts sector. There’s a feeling that “nothing will really change so you just have to deal with it” and while I believe resilience is necessary and that not everyone realistically can make a living solely from art, I do think that collective demand and action – over time – may start to shift things.

Defeatism like “that’s just how it is” definitely isn’t going to remotely challenge the status-quo.

But look at places like Basement Theatre, where Cat Ruka and Nisha Madhan are ripping up outdated definitions of “arts'' and carving new pathways that benefit a wider range of New Zealand artists and audiences. Creative NZ could be leading this kind of change too, which would benefit a much wider range of art-makers, audiences and people in Aotearoa– - things like rallying for UBI's or artist benefits. .

Equity NZ hosted a discussion with artists as part of Creative NZ’s request for feedback, and these are some of the concerns, thoughts, and changes the community would like to see actioned.

Amber Liberté is a multidisciplinary artist who choreographs, directs and performs in theatrical, film & gallery settings.

* Creative NZ responded to this article with a statement that its funding mechanisms, including distributing the $5m Delta relief fund, do reach independent artists. The original article headline – “Creative NZ isn't supporting independent artists during Covid” – has been amended.