As a gamer who’s been juggling multiple part-time jobs while chasing my dream of becoming a professional actor in the nonprofit arts sector, I can’t help but feel a glimmer of hope when reading about the AFL-CIO‘s proposed policies for the National Endowment for the Arts and other related bodies. I’ve seen too many talented artists struggle to make ends meet, forced to take on multiple roles just to keep afloat in this industry.
The AFL-CIO, America’s largest labor union encompassing organizations like Actors’ Equity, SAG-AFTRA, IATSE, among others, has proposed a set of fresh government policies aimed at fostering long-term employment opportunities within the nonprofit arts and media industries.
As a gamer, I’d rephrase it like this: When it comes to funding from organizations like the National Endowment for the Arts, the National Endowment for the Humanities, and the Corporation for Public Broadcasting, I believe that workers in non-profit sectors should have more say. This could be achieved by giving working professionals seats on federal grantmaking councils. Additionally, I think it’s important to update these grants so they can fund multiple productions or projects, rather than just one. This way, the funds can be used more effectively and creatively.
Currently, there’s no particular law addressing these priorities. Nevertheless, given that numerous cultural nonprofit organizations are still grappling with recovery following the pandemic, the AFL-CIO has proposed these objectives as part of a “reimagining” of federal funding in these sectors. Michael Wasser, legislative director for the AFL-CIO’s Department for Professional Employees, stated this.
Wasser stated that the solution seems likely to involve more financing as well as a fresh approach. There have been discussions within the field and in public forums regarding what this might mean. We wanted to express, as working professionals, what we believe this transformation entails from our perspective.
Regarding stricter worker rights, federal legislation mandates that entities receiving financing from the National Endowment for the Arts (NEA) or the National Endowment for the Humanities (NEH) should provide performers and others a minimum wage stipulated by prevailing standards. Nonetheless, Wasser pointed out that these rates are not always adhered to, and enforcing payment has proven challenging for the Department of Labor. The AFL-CIO is advocating for penalties in the form of financial fines to be imposed on organizations found in violation of this law.
The AFL-CIO is advocating for stricter rules concerning permanent staffing positions for CPB grantees in public media, with the intention of reducing the use of temporary or contract workers and encouraging more full-time employment instead.
Wasser expressed concern about how traditional public media stations are shifting towards low-cost outsourcing models, which jeopardizes the jobs of our members and makes it challenging for individuals to establish a sustainable career in public media. It becomes increasingly difficult for people to build a career that can support their families under these conditions.
Labor union advocates are seeking representation on the National Council on the Arts, the National Council on the Humanities, and the CPB’s board of directors to influence the grant allocation process. One major concern raised by union members is that NEA grants do not cover operational expenses, which is why the AFL-CIO is pushing for a wider funding scope.
In many cases, grants are tailored to specific projects, and during my time working in administration, I’ve noticed that nonprofit arts institutions often need to create projects to receive this project-focused funding, instead of receiving aid for their overall operations which would be more useful. I believe one reason for this is because those who are directly impacted by the decisions made within these granting organizations aren’t always given a voice at the table. This statement was made by Lee Osorio, an Actors’ Equity member based in Atlanta.
Osorio pointed out that pursuing a career in non-profit theater was difficult even before the pandemic, as he needed to juggle several jobs along with five to six theater engagements annually just to get by. However, the situation has grown more challenging in recent times, with Osorio resorting to television and audiobook roles due to limited opportunities in theater.
Before, it was not feasible, and the situation has worsened. There’s less work to be found. In the theater world, what I notice is a trend towards reducing the scale of productions. This means there are more solo performances and two-person plays. As a result, fewer job opportunities are available for those trying to earn a living and support their families in regional areas like Atlanta.
Ned Hanlon, head of the American Guild of Musical Artists – an affiliate of AFL-CIO that supports singers, dancers, and other opera, ballet, and related staff – stated that many opera houses nationwide are producing fewer shows annually. He believes this issue could potentially be resolved by modifying federal policies. Over the past few years, Hanlon has observed a significant number of individuals leaving the industry, an occurrence he largely links to the reduced number of performances and relatively static wages in the field.
There’s been a significant decrease in the number of productions, particularly in opera, as noted by Hanlon. For instance, at the Met, we currently stage 25% fewer shows compared to three or four years ago. This isn’t due to reduced ticket sales, which are, in fact, above pre-pandemic levels. Instead, it’s a matter of financial challenges. The aim is to shift funding towards initiatives that foster artists and provide them with a steady income, rather than short-term projects.
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2024-09-10 15:24