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THIS IS HOW WE DO IT 2020: INDIE SURVEY REPORT

Posted by Team APATA | Feb 5, 2021

In December 2020 Theatre Network Australia [TNA] released THIS IS HOW WE DO IT: TNA’s Report on the Working Trends of Independent Artists and Creatives in the Performing Arts in Australia. Focusing on independent emerging, mid-career and established artists in the performing arts, the 2020 survey breaks down the going rates, considerations when setting fees, and how artists have been impacted by COVID-19.

The report makes a number of observations:

In 2019 the 283 respondents undertook 3097 projects. The rates they provided TNA  proved the ongoing underpayment of artists working independently. It also highlighted the fact that creatives often flex their fees to suit the project their working on eg: one-off fee instead of an hourly rate or weekly wages, profit-share or working for free.

“Our Industry is relying on a huge amount of unpaid work from independent artists. In publishing these rates, TNA advocates for fairer and more equitable remuneration for arts work. Understanding the constant push and pull of lean arts budgets, we would encourage those setting rates to think not only of short-term outcomes but how they can enable independent artists to have more sustainable careers.”

Delving into:

  • The Artists
  • The Art
  • The Other Work that supplements their independent arts practise.
  • Money – not only rates for the emerging, mid-career and established artists but the question of superannuation as well.
  • The Impact of COVID-19 including financial and well-being statistics

Theatre Network Australia have provided a great resource as the Arts moves forward and regains it’s footing, and determines there is still a long way to go in reaching a sustainable financial future for many creatives.

“Lack of recognition of arts work as ‘real work’ continues to be perpetuated through a government system which does not treat it the same as the work in other sectors and industries. The difference between the nature of working arrangements in the arts sector and others also remain a barrier.”


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