CCA Bulletin 27/10

October 26, 2010

After 30 years, what has UNESCO’s Recommendation concerning the Status of the Artist achieved?

Just the Facts

This year marks the 30th anniversary of the UNESCO Recommendation concerning the Status of the Artist. With the support of the Canadian Artists and Producers Professional Relations Tribunal, the Canadian Conference of the Arts (CCA) has conducted a critical review of this initiative in Canada. After 30 years of efforts, what exactly has been achieved for artists and creators in this country and abroad? The question is particularly relevant as we prepare for the CCA’s upcoming conference Artists: Powering the Creative Economy? Many of the issues analyzed in Status of the Artist in Canada will frame the panels, debates and conversations held on November 2 and 3 at the National Arts Centre in Ottawa.

The paper analyzes how Canadian artists fare at social, economic and cultural levels. By exploring key issues like taxation, social benefits, training and professional development, health and safety, collective bargaining and other issues, the main concerns of artists in Canada’s current environment are established. Status of the Artist in Canada takes a look at federal initiatives used to bolster the ability of the artistic workforce followed by a breakdown of provincial initiatives.

After examining Canadian standards for artists, the document includes a brief analysis of international standards and best practices. This leads to a discussion regarding the relevance of status of the artist today and to the specific recommendation that states that the first $10,000 of net income earned from artistic activity be free from federal income tax liability. This special exemption would be added on top of the universal basic exemption.

Tell me more

Status of the Artist in Canada describes a category of legislation and other public policies directed at improving the economic and social status of professional artists. The concept has two components: the important role that artists play in every human society should be acknowledged, and government legislation and programs should encourage creative expression and ensure equitable treatment for artists by responding to the atypical manner in which they work.

The UNESCO Recommendation addresses issues and recommends government actions on the following:

Employment, working and living conditions of artists.
Recognition of the rights of their professional and union organizations.
Social status, including measures to ensure equivalent status to other workers in areas such as health and insurance.
Protection of freedom of expression and protection of intellectual property rights.
The education and training of artists.
The importance of arts education.
Measures related to income, support during periods of unemployment and retirement issues.

In Canada, there are many specific issues that have an impact on the social and economic circumstances of professional artists. The work of artists has certain defining characteristics and each artist will combine a few or many depending on the nature of their art. While some of the individual characteristics are shared by other professions, taken as a whole, for all artists, they create a pattern of work very different from most others in the labour force.

Most become an artist because of their love for the art form. A person must love to dance, paint, write, sing, act or play a musical instrument, and they often do so for many years before becoming a professional.

They can spend a substantial amount of time preparing to earn income, in training, rehearsal, study, research or in creating a finished product.

They sometimes work for a number of engagers simultaneously, or for none at all. They may sell nothing for long periods and then suddenly secure a great deal.

They often have to train and rehearse even when they are working, either as an artist or outside their art.

Experience and skills do not guarantee marketplace success. The creative element of the work is difficult to define and perhaps impossible to teach.

Many professional artists must supplement their income with revenue generated from part-time work outside their area of professional expertise, in order to survive economically. For some, this may come to represent the bulk of their income.

Because of the creative nature of the work, they often have an ongoing economic interest in their completed work, either through copyright law or contracts, and they can receive income from it long after the work is finished.

There is a distinction between creative artists (such as authors, visual artists, composers and designers) and interpretive artists (such as actors, dancers and musicians) since the artists in these categories generally have different working relationships and engage different methods to earn artistic income.

According to census data and studies on the cultural labour force, the number of professional artists is growing rapidly; a high proportion of artists are self-employed; artists are highly educated but their earnings are low compared to that of other Canadians; and their income can fluctuate dramatically from year to year. Most artists do not have access to the social benefits generally enjoyed by other Canadian workers, such as paid vacations and holidays; income maintenance when there is no work or when they are sick; maternity/paternity and adoption leave; medical, dental and life insurance; and retirement/pension plans.

What can I do?

This paper, along with our conference on November 2 and 3 will help outline a policy roadmap necessary to benefit artists in Canada. Read this paper and then join in the conversation by attending our conference. Comment on our blog to give us input on your policy needs and priorities as a Canadian artist.