Relief fund urgently needed for freelancers and self-employed music and arts workers – The Star Online

It has been a hard three months for everyone but especially so for those in the business of music and the arts. So many people are affected by the inability to put on shows and events.

Late last year, then Prime Minister Tun Dr Mahathir Mohamad indicated that the government would put in place provisions and regulations to ensure that workers in the gig economy would be protected. Freelancers live precariously, as they are not entitled to the benefits a permanent worker receives such as pensions, Employees’ Provident Fund savings, workers’ insurance or sick pay. Nor do they have the security of a regular salary and paperwork that would allow them to access loans and credit facilities.

A survey conducted by the Statistics Department of Malaysia in March 2020 revealed that, due to the Covid-19 pandemic, 46.6% of self-employed workers lost their livelihood while 23.8% of entrepreneurs reported the same (“Malaysia’s job market on a knife-edge”, The Star, April 15, 2020). The government has rolled out RM280bil worth of stimulus packages, including wage subsidies and loan payment deferments, to bolster the economy – but there are huge concerns that freelancers in the music and arts community and its peripheral services are not eligible to these forms of aid.

Most times people only see the artists when it comes to performances but of all the people in the business the artist has the ability to adapt quickly, and with a following, can offer content online and draw sponsors or endorsements. However, the honest truth is that not all artists can do this, and Malaysia is not prepared for the kind of outreach and stability via the Internet that the industry requires to replace live shows.

Behind the artist is a whole ecosystem that supports them, their careers and the shows that they do. And since the pandemic hit, all of these people (most of whom are freelancers) have had no source of income. This includes backing performers, administrative staff, riggers, stage crews, engineers and technical teams, stage and set builders, stage coordinators, logistic managers, backstage teams, musical instrument crews, videographers, photographers, and the list goes on. Many of these people are highly experienced in their fields. Even small venues or live houses – the incubators of performing talent – and their operational crews are affected badly but unable to receive aid. Freelancers are currently in a fight for their lives.

The largest income providers in the industry are event organisers who use gig workers and suppliers on an ad hoc basis, hiring them for specific events, gigs or short-term engagements. A concert or festival, depending on its size, involves anywhere from 100 to 600 people. But event organisers have been hit hard by the cancellation of shows such a Riot Fest 2020, Nusa Fest, Rockaway 2020, Budak Belakang’s Graduation Day, KL Fashion Week 2020, and Good Vibes 2020, not to mention all the smaller concerts and shows on the ground, artist tours, sponsors’ events, corporate shows and dinners, yearly national events, etc. This means all those connected to such events face severe financial implications.

The chances of the industry returning before the end of the year have been wiped out as shows and events turn into indefinite postponements or cancellations. Unlike with many other sectors, the new normal will not see people involved in music and the arts earning enough to pay the bills, feed a family and ensure the kids get an education. Just because those who work in this area love their jobs doesn’t mean they shouldn’t be paid what they deserve or be taken for granted. Thanks to the pandemic, everyone has been forced to take a look at the inner workings of the entertainment business normally left to fend for itself.

The industry is not afraid of change because we thrive in a fast-paced, volatile, ever-evolving environment. All of us are trying to come to terms with what has happened, NO ONE is complaining, and everyone is trying to survive but the freelancers, especially, need assistance in being reassigned or acquiring new skillsets. And the industry needs clear policies and directives that will assist it and its talents to move forward and grow. Whatever assistance the government can provide, it is imperative that funding and relief reaches all the way to the people behind the scenes. And the accessibility and implementation of such help must be provided as fast as possible.

Whatever the plan, it should be one that will not force people to leave the industry because music and the arts mean more to people than anyone would care to admit. After all, who has been entertaining people, keeping us connected and sane while everyone stays safe at home?

JENNIFER THOMPSON

Kuala Lumpur

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