A study, published on the occasion of Paris Electronic Week, underlines that the 2022 festivals season was not brilliant for the sector.
by
In a prelude to the new edition of Paris Electronic Week which, until Saturday, September 24, will offer conferences, debates, master class and evenings on several sites in the Villette Park (Paris 19
produced, from February to May, by the Symbial Agency, with the support of the Ministry of Culture and Sacem, this inventory of the situation of structures, artists and technicians in the “electro” sector in Demonstrates dynamism as precariousness.
From a sample of 2,652 contacts provided by Technopol, 1,208 people or companies answered a questionnaire trying to assess their situation and their needs. If the sector is active, particularly in the Ile-de-France regions, Auvergne-Rhône-Alpes and Provence-Alpes-Côté d’Azur-alone bringing together more than half of the structures and artists-, its fragility has Revealed all the greater during the Covid epidemic which, in 2020, struck the main economy with the majority on the live performance.
lack of structuring
While other sectors of musical activity have been able to benefit from aid (partial unemployment, extension of intermittent, subsidies, etc.) set up by the State, the study reveals that the lack of structuring of Professionals of electronic music, their reluctance (out of distrust or ignorance) to “appropriate the specific tools of French cultural policy” were particularly damaging at the time of the pandemic.
This was the case for structures, two -thirds constituted in associative form (the remaining third party sharing between companies and individual structures), with reduced staff (six out of ten having no employees), a majority of which do not does not have a license for entertainment entrepreneurs, although this activity generates a large part of their income. But especially for artists, with DJ or producer statutes, who saw, in 2020, their remunerated dates divided at least half.
If the live performance represents two thirds of their activity, these artists, often structured in society, would only be 27 % to benefit from the intermittent regime. “The reality of these structures distant from any logic of social protection has been sorely felt during the pandemic, many artists being unable to have access to the aid put in place by the State”, underlines the report of Technopol, recalling that three quarters of the artists could not benefit from partial unemployment.
You have 39.81% of this article to read. The continuation is reserved for subscribers.