By highlighting previously unaddressed issues such as false self-employment, unpaid and underpaid working hours, and the lack of collective bargaining, the ELA exposes the sector's fragmented nature, where only three sub-sectors maintain regular social dialogue between workers and employers. Expert Joost Heinsius speaks to Creatives Unite about the need to address informal work in the CCS both on the advocacy and the policy level.
By Matthaios TsimitakisThe European Labour Authority's study reveals the precarious reality of Europe's creative cultural sector, exposing systemic challenges of false self-employment, fragmented labour dialogues and persistent underpayment. “What makes the implementation of a unified artist status so challenging is the complexity of creating a comprehensive framework that works across different artistic disciplines and national systems,” argues policy expert Joost Heinsius*. As artists and creative professionals navigate increasingly complex working landscapes, he says, the need for comprehensive policy reform becomes urgent. How can the ecosystem effect positive change? “The key is collective action — workers uniting, developing independent platforms and keeping pressure on employers and global platforms.” Read the full interview:
Q: Is the ELA study hitting what we empirically all know to be the case, but authorities still need to recognise?
A: I think it is revealing something that we all empirically already know. However, the topic is on the agenda, but national governments and EU institutions do not seem to be able yet to solve the problems arising from this empirical knowledge. The European Labour Authority has never looked at the CCS until now. They mostly looked at sectors with formal labour relations, not declaring their hours, etc. For them, the Cultural Creative Sector is completely new. That being the case, they are drawing attention to several key points:
— Figures on national and European levels don't follow the same definitions, making it hard to get statistically sound figures.
— They're stressing new terms and numbers to the discussion, like false self-employment, being underpaid or having unpaid hours.
— They're highlighting the fragmentation of the sector, noting that only three sub-sectors have a regular social dialogue between workers and employers and principals.
Q: How can the classification problem be solved, given that both Europe and the labour sector are trying to create categories that don't necessarily match?
A: It's challenging because authorities like Eurostat are reluctant to change their definitions. If they take a step to modify their methods, everything they've done before becomes potentially irrelevant. The same applies at the national level—each jurisdiction wants to maintain its existing research and statistical frameworks. Essentially, Eurostat tries to fit national-level data into European-level categories. This discussion has been ongoing for 20–30 years and hasn't been solved yet.
Q: What does this difficulty mean practically for artists and the production of culture?
A: Not much. People will continue to make art and culture regardless of classification challenges. The real impact is on how the sector is understood, supported, and regulated by policymakers and advocacy. It matters when trying to understand sector conditions, develop progressive working conditions, or build collective bargaining power. Artists will continue creating art under any classification system.
Q: There’s a long debate about the need to recognise the status of the artist across the EU and certain guarantees that come with it. Is it coming closer to becoming a reality?
A: It's a gradual process. Currently,a little more than half of the member states have some kind of artist status, but it's always partial—covering only small areas of social security or labour. In the future, probably within 4-10 years, there might be a framework for working conditions. This could come partly through the European Social Pillar, which has principles about equal access to social security, equal pay, and gender equality. However, the major challenge is that all member states must agree, which makes it a slow process.
Q: What are the current working conditions for artists across Europe? If one believes ELA, then it seems that if you're an artist in Europe right now, you are likely to work two jobs, with one potentially outside your sector, be self-employed, or operate as a one-person company. You may be underpaid or even lose money and experience unstable working conditions. What is more striking is that this is true even in vibrant industries like television and film. For example, among directors and screenwriters, many need a second job. This isn't just happening in niche areas but in active, dynamic sectors. But are these conditions similar across different European countries?
A: No doubt, the situation is complex, and conditions differ significantly between countries and professions. For instance, the Netherlands has surprisingly high self-employment due to its labour traditions, while other countries might have other challenges for artists. Then the experience of a music manager versus an actor can be vastly different. What makes implementing a unified artist status so challenging is the complexity of creating a comprehensive framework that works across different artistic disciplines and national systems. The process is inherently slow because it requires aligning multiple perspectives, legal frameworks, and economic realities across different European countries. Europe is slow, but it cannot be done otherwise.
However, this is a paradoxical situation. The sector has experienced massive growth over the past 10–20 years, but this growth has led to increased precarity. More people want to work in creative industries, which unfortunately drives down pay rates and increases competition.
Q: Could you elaborate on how this competition affects artists and creative professionals?
A: It's quite simple: with so many people wanting to work in these sectors, employers, and principals can easily offer low rates. Platformization in the digital world has further intensified this competition. Whether it's in film, music, or design, professionals often find themselves working multiple jobs, with many earning significantly less than they should. The digital ecosystem is dominated by a few global players—primarily American and Chinese platforms. These platforms have created near-monopolistic conditions. European cultural producers have become increasingly dependent on these global marketplaces, which compromise our cultural diversity and independent production.
Q: What can the European Union do to address these challenges?
A: We're seeing efforts to develop a comprehensive framework for artist working conditions. About half of EU member states have partial artist status regulations. I expect in the next 4–10 years, we might see more comprehensive guidelines covering social security, fair payment, and working conditions. Joost: This is already being said before…
Q: As you describe the landscape in the CCS, I am wondering if there is any room for optimism.
A: Definitely. Europe is still leading in some areas, particularly in AI regulation. Global digital platforms are reshaping our cultural production, but European institutions are working to protect our cultural diversity. Change will be gradual, but it's possible through persistent, strategic efforts.
Q: But on the practical, everyday level, what would you advise individual artists facing these challenges?
A: Unite. While individual experiences vary dramatically between countries and sectors, solidarity can create meaningful change. Don't accept precarious working conditions as inevitable. The key will be collective action—workers uniting, developing independent platforms, and maintaining pressure on employers and global platforms. We're not defeated; we're adapting.
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*Joost Heinsius is an independent expert specializing in the working conditions of artists and cultural professionals. With over 25 years of experience in the cultural sector, he currently works as an expert for the Creative FLIP project. Joost has led several prominent projects for European institutions, including research on crowdfunding in the cultural sector and the impact of COVID-19 on creative industries. He is also a lecturer, writer, and advisor with a diverse background in political science and journalism.
