Literature organizations chain table on steam

18 March 2023

Photo: fairPACCT

At the end of last year, the chain table of literary organizations met for the first time. Sylvia Dornseiffer, independent chair of the chain table, talks about the first steps taken toward concretizing fair pay:

Looking for appropriate working conditions

Currently, the Chain Table of Literary Organizations is hard at work developing a standard Terms of Employment for salaried and self-employed workers at literary festival organizations. At the same time, research is being done on collective bargaining agreements and wage buildings that these organizations can best join. After all, there is no collective bargaining agreement of its own for literary organizations.

The literary organizations structurally funded by the Ministry of OCW, such as the Literature Fund and the Reading Foundation, base themselves on the scales used by the government or on the collective bargaining agreement for publishing. Some multi-yearly subsidized festivals focus on the collective bargaining agreement for Drama & Dance. The small festivals and literary organizations generally do not have the resources to honor employees according to whatever guideline. They often work as freelancers and have to rely on project grants awarded for programs.

All for art and good fees

The fair pay survey that VLAM 21 (United Literary Activities and Manifestations) commissioned among multiyear subsidized literary organizations found that these organizations put payment to artists ahead of fair pay for festival staff. Anything for the arts. And that group is not forgotten by the chain table either, as a second study focuses on developing the simplest possible pay and fee guidelines for performing/commissioned authors and artists.

It should be a simple handle that can function without bureaucratic and administrative ballast in the sector. The chain table is taking into account the evaluation of the ‘Guidelines for Function and Wages of Presentation Institutions’. This group of visual arts institutions has set an earlier example by developing handy guidelines for both the organizations and the artist’s fee.

“It should be a simple handle”

Getting started with working groups

On the 2^e meeting of the Chain Table of Literary Organizations – the first under my chairmanship – two working groups were formed that are now doing inventory work in preparation for the two surveys. This will help enormously in presenting the results to an experience panel and sounding board group before the summer.

With engaged participants and with agency support, we are keeping up the good momentum as the next few months are crucial for formulating motivated fair pay requests.

Ketentafel Freelance Classical Musicians conducts survey on hours spent by musicians

12 March 2023

Photo: Pixabay

The Freelance Classical Musicians chain table is conducting research into the hours spent by musicians in the subsector. The research should eventually help develop a fee guideline. Chain table participants Lonneke van Straalen and Danna Paternotte, both working at rebel collective Pynarello and both violinists, talk more about the process:

A fee guideline ahead

As a working group of Pynarello, we are involved in the chain table Freelance Classical Musicians. In this, we actually have a double role, namely as work providers and as freelance musicians. Pynarello’s working group consists of six musicians, 4 of whom are freelancers.

We like to think about fair fees and, above all, strive for a common and clear roadmap to achieve this. For example, a clear fee guideline could help workers and employers/clients, just as is used in the visual arts sector. The first steps to develop a guideline have been taken.

“The first steps to develop a guideline have been taken”

Calling freelance musicians: what does professional practice look like?

On behalf of the chain table, a call was made to freelance classical musicians to write down their hours spent for the month of March in an hours table. The table takes into account the following activities: rehearsing, performing, travel time, set-up time, waiting time, administration, training and education, commissioning, marketing and promotion, concept development of performance, maintenance of instrument and keeping up instrumental skills. This reveals what the professional practice of freelance classical musicians looks like. How much time actually goes into concerts and performances?

And: what fee should be paid in return to achieve fair pay? Several, relevant collective bargaining agreements are currently being analyzed for this purpose.

Archaeology chain table maps current working conditions of archaeologists

10 March 2023

Photo: Alamy

Femke Tomas, researcher and lecturer in the Department of Archaeology at Fontys University of Applied Sciences, has conducted a labor market monitor within the subsector on behalf of and in consultation with the chain table Archaeology. She explains the purpose of the monitor and shares the first research results with us:

Better working conditions for all archaeologists

The archaeology chain table of the fairPACCT program started in March 2022. The chain table discusses how we can ensure good working conditions for all archaeologists in the Netherlands. What steps need to be taken to make them future-proof? To this end, the chain table conducted a survey among (non)actors in archaeology in November-December 2022. The aim was to clarify the issues and to analyze them in greater depth.

“There is a clear preference for arriving at a collective bargaining agreement.”

Forming a collective bargaining agreement

Initial survey results show that the issue is recognized and supported by the entire field. The number of respondents is relatively high and the comments applaud the initiative. There is a clear preference for a collective agreement, but it was noted that, in doing so, it would be necessary to determine what kinds of different employment contracts already exist in archaeology. After all, some of the archaeological workforce is already covered by other collective agreements. Which group would actually benefit from its own collective agreement, or would another form of employment contract perhaps be more appropriate?

CBA as a tool for vulnerability and flexibility

Identified vulnerable groups include archaeologists with disabilities, the younger generation of archaeologists, and archaeologists who work without a collective bargaining agreement. They earn relatively less but are also less satisfied with opportunities for advancement and with the number of working hours. Male archaeologists are also more inclined to work less, but they do not always see this flexibility in their work. In their case, a collective agreement could provide some guidance.

The survey results will serve as a guide as the chain table moves forward.

Collectively Tag