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Culture workers is increasing. When new technology lowers the thresholds for the cultural creates the workshop there are many who feel called. But it also means more competition.
The authors will be more, the musicians are more and more artists are. But the question is whether there is room for all.
The authors will be more, the musicians are more and more artists are. But the question is whether there is room for all.
In the past sometimes used the term 3000 Club of the established writers like every other year delivered a well-written and well-liked novel, which sold around 3,000 copies and generated a satisfactory profit for the publisher . Today there are few writers who come up in the edition. However, the number of books published and active writers skyrocketed and 3000-the club would actually be better to describe the Writers’ Union. The end of March this year announced the Writers’ Union Chairman of the organization for the first time passed the 3,000 members. In ten years, the union has increased its membership by 24 percent.
The authors are not only ones to multiply. An even stronger population growth takes place in the music industry, where the number connected in the estimation of ten years has risen from 48,000 to 78,000 – an increase of over 60 percent. The number of creators that receive more than SEK 100,000 per year from Stim has grown by 12 percent since 2011.
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– It has quickly grown almost exponentially. Then you can of course ask ourselves to what extent it reflects the professional music creation. But the trend is quite exceptionally clear, says Kjell-Åke Hamrén, Chairman of the STIM Board.
Looking at the music industry over the same ten-year period has undergone its worst structural crisis ever appear to increase somewhat incredible. According to Kjell-Åke Hamrén is an important reason that technological developments have lowered the threshold to produce music on their own.
– If you look at Sweden before the war, it was music something exclusive that few could deal with. It cost a lot to produce music that could be recorded. Today the means of production are transferred to the individual, to borrow a Marxist expression. Anyone with a computer, broadband and software, with not too much work to learn to create music, he says.
Kjell-Åke Hamrén. Photo: Rickard Eriksson
Just how much the number of cultural workers has increased, there are no statistics. Government investigations have been bet on answering the question in 40 years. Not even the Arts, the authority in cooperation with Statistics Sweden has devoted most energy about it, know today for sure how many artists who are in the various art fields. The difficulty is partly a problem of definition, explains the investigator Stefan Ahlenius at Arts in an email: “Should we count only professional artists or anyone who defined themselves as artists?” And which areas of art to be counted? Included media in the broad sense, or count only the state cultural policy areas of image / shape, music, theater, dance and film?
A further complication is that some areas of art, authors and practitioners while others only have authors.
– You can try to make an assessment and appreciation. Arts Grants are not currently involved in a process of developing such a calculation, but likely still, over a few decades, to all areas of art has something more active artists, he continues.
The public investigation Work for artists (SOU 1997: 83) was judged that the time was 25,000 professional artists and that number had increased steadily over the past 20 years. Other sources mention 40,000 professionals while Statistics Sweden in 2008 counted on cultural and media industries employ 84,000 people.
Another indicator on the change in the number of cultural workers is how many students take an artistic degree, and there is a clear trend. From 2008/2009 to 2012/2013, the number of arts degrees from 315 per year to 929 per year, which is three times.
Ulrica Källén Lörelius. Photo: Johan Olsson
– I know that more and more people educate themselves in the field, or at least want to get a cultural education. There are more applicants artistic colleges, and secondary education with aesthetic orientation and media targeting increased at least for a few years ago, says Ulrica Källén Lörelius, director of the claw, which coordinates the artistic member organizations.
Although she sees technological development and digitization as a key explanation for cultural workers is increasing. The record company or publisher is not as necessary today when the network opened channels to the public. But that culture creators crowd is growing does not mean that the resources for culture increases to the same extent.
– The competition gets tougher and tougher and tougher conditions. More must freelancing and working on projects. Very many cultural creators in our organizations are forced today to support themselves with completing job as a taxi driver or teacher. And what often happens is that completing the job takes more and more time from the artistic profession and the culture creator eventually leave the industry altogether, she says.
Also on Cultural Affairs , which benefits the state’s contribution to the free sector of cultural life, is a picture of the cultural practitioners is increasing. The pressure is increasing year by year.
– The applications in theater, dance and music has definitely increased in recent years, but also over a ten year period. Quite powerful in particularly dance and music, from 2005 to 2014 have applications on the dance area increased by 100 percent. But my assessment is that it increases in the majority of areas. We find it difficult to keep pace with demand and looks very great need to meet the exciting developments taking place, says Mika Romanus, Head of Cultural Affairs.
In other words, more and more cultural workers have to share the the same cake, which leads many are left without. Meanwhile, the fixed services for long periods decreased, while the self-employed is increasing. Kulturprekariatet grow.
Mika Romanus . Photo: Jonas Hall estate
The report Culture Sweden 2009 takes investigator Anders Forsman the two reasons that more and more cultural workers today must take “bread job” in order to survive. One is economically and is sometimes called Baumoleffekten, or service dilemma, after the American economist William Baumol.
He was commissioned to analyze the causes of Broadway theaters drew on increasingly higher costs. The explanation was that the actors, musicians and dancers would have a reasonable wage compared to auto workers in Detroit, who with the help of technological development continuously able to produce more and more cars per hour. Since similar productivity increases are not possible in the cultural (and other educational and labor-intensive professional fields such as health, education and welfare) will be culture relatively more expensive as the industrial sector raises their productivity, “William Baumol classic example is a string quartet by Haydn, that normally takes an hour to drive. Any attempt to raise productivity, that is, increase the tempo and play the quintet in increasingly shorter time, would be met with gloom by critics and audiences. “
The second reason Anders Forsman addresses is the artistic education DEVICES strong expansion since the 1960s. State and other public bodies allocate considerable resources to educate cultural creators, while the number of permanent posts in cultural institutions decreases. It creates an oversupply of highly skilled artists.
The trend is similar in the media industry. In a column in the media world challenged recently Journalists president Jonas Nordling to the society right now educates 1,880 new journalists at the same time as a journalist jobs disappear.
Some years ago revealed SVT’s “Mission Review” the Medical Association in the 1990s ran a successful campaign to reduce the number of seats on the medical school, which probably contributed to medical wages favorable development. Hawse is not aware that any of their affiliates were actively pursued a similar line, ie a reduction of the number of seats on the artistic programs.
– I think that our member organizations may feel a little different in the question . But Hawse not advocate actively to the number of seats to be cut down. That society gets more educated cultural creators is positive. The most important thing for us is rather that the government implements the necessary reforms so that those who enter the labor market after an arts education get better terms. There is the prerequisite for an independent and free konstnärskår says Ulrica Källén Lörelius.
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