As a prelude to the new edition of Paris Electronic Week which, until Saturday September 24, will offer conferences, debates, master classes and evenings in various places of the Parc de La Villette (Paris 19me), before concluding the 24th Techno Parade, the Technopol association, organizer of the event, presented the results of a study dedicated to professionals in the electronic music industry in France.
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 demonstrates both dynamism and insecurity.
From a sample of 2,652 contacts provided by Technopol, 1,208 people or companies responded to a questionnaire that attempted to assess their situation and needs. Although the sector is active, in particular in the Ile-de-France, Auvergne-Rhône-Alpes and Provence-Alpes-Côté d’Azur regions, which alone brings together more than half of the structures and artists , its fragility has been revealed even more during the Covid epidemic that, in 2020, hit an economy based mainly on live performance hard.
lack of structure
While other sectors of musical activity have been able to benefit from the aid (partial unemployment, extension of intermittent work, subsidies, etc.) put in place by the State, the study reveals that the lack of structure of electronic music professionals , their reluctance (because of mistrust or ignorance) to “appropriating the specific tools of French cultural policy” they were particularly damaging at the time of the pandemic.
This was the case of the structures, two thirds of which were constituted as associations (the remaining third is divided between companies and individual structures), with reduced staff (six out of ten without employees), most of which have no entertainment . contractor’s license, although this activity generates a large part of their income. But above all for artists, with DJ or producer status, who saw, in 2020, their paid dates split at least in half.
If direct represents two thirds of their activity, these artists, often structured in companies, would only be 27% to benefit from the intermittent regime. “The reality of these structures far from any logic of social protection was cruelly felt during the pandemic, as many artists were unable to access the aid put in place by the State”underlines the Technopol report, recalling that three quarters of the artists have not been able to benefit from the partial strike.
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