Pay creators at least a minimum fee, including preparation time, for any show or performance that uses public money
Steps to make it happen
- Artists, museums, theaters, and the people who provide the money meet to set a guide for the minimum payment.
- Rehearsal, preparation, and travel time count as work, not just the show or performance itself.
- Shows and performances that use national or local money promise to pay at least this guide amount.
- When they apply for money, organizers write in their budget how much they will pay the creators.
- After the event, people check that the payment was really made, and anyone can see the results.
- Asking creators to work for free because "the exposure is good advertising" becomes less common.
- It becomes normal for people to keep working in the arts even if their families are not rich.
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The proposal in detail
This proposal covers exhibitions, concerts, theater and dance performances, and arts festivals that receive public grants, as well as work that public museums, public halls, and schools hire artists to do. It includes makers in the visual arts, music, and the performing arts, as well as technicians such as lighting and sound crews. For art exhibitions, the basic rule is to pay an "exhibition fee" for showing the work, separate from any money the artist earns if the work sells. The payment guide is set by a joint committee of three parties: representatives of artists, the venues and organizers, and the bodies that provide the money. It is reviewed every few years to keep up with prices. Rather than setting one amount for the whole world, the proposal has regions share a way of calculating, based on things like the average hourly pay of working people in that region, and each region turns it into its own amounts. Time spent on rehearsals, setting up and taking down works, meetings, and travel also counts toward payment. As exceptions, events that local residents join for fun, student presentations that are part of learning, and cases where a creator freely chooses to work unpaid can be left out. But the choice to work unpaid must be put in writing, and it is guaranteed that saying no will not hurt the creator. In grant applications, payment to creators is shown as its own budget item, and after the project the actual amounts paid are reported. A service is also set up where people who were not paid can ask for help without giving their names. Private events that receive no public money are not required to follow the rule, and the guide is offered only as a reference.
BenefitsMore kinds of people can keep working in the arts
The biggest effect is that creators can more easily expect to make a living from their work. If preparation and rehearsal time are paid, they can cut back on side jobs and spend more time on their art. Because people can continue in the arts without relying on their family's wealth, people from many regions, classes, and backgrounds find it easier to make work, and the kinds of expression that society meets become richer. Looking at how public money is used, the unfairness of paying properly for buildings and operations while asking only the creators to work for free is corrected, and tax money becomes a model of fair work. Writing the payment amount in the budget and reporting it afterward makes it easier for outsiders to check where the money went, and cuts down on unreasonable requests that come from the gap in power between organizers and creators. Furthermore, once the guide takes root in public projects, a going rate of "this much is normal to pay" can form in private events too, and it gives creators outside the system something to stand on when they negotiate.
DrawbacksIf budgets do not grow, there may be fewer chances
The biggest worry of those who oppose the idea is that if payment is required but arts budgets do not grow, the number of events will fall. If money that used to pay for ten exhibitions now pays for only five, the first places lost will be the stages for unknown young artists and for people trying new things. For creators who say they do not need pay and just want to take part, the road could actually become narrower. Small citizen groups and regions that already have little money for culture may not be able to meet the guide, and if they give up on applying for grants, support may end up gathering in rich cities and large venues. Also, the time that creating takes differs greatly from person to person, so it is hard to decide one rule for what counts as work, and more application and reporting paperwork would make the load heavier for both creators and organizers. If the work of setting standards in each region goes badly, the guide could become a mere formality, or events could avoid public money and move to private venues that have no rules.
Learn the background
In the art world, the idea that "the chance to show your work or perform is the reward itself" is still strong. Even when a work is shown in a museum, the ticket money and the crowds go to the venue, and it is not unusual for the creator to be paid nothing. Musicians, actors, and dancers often get a fee for the performance itself but nothing for weeks of rehearsal and preparation. Public money is used to keep up buildings and pay staff, yet payment to the creators, who are at the very center, comes last and is the first thing cut when the budget runs short. It is an upside-down arrangement. Many artists keep creating while holding other jobs, and around the world it became clear that when illness or an outbreak of disease stops events, their income can disappear all at once. As a result, only people with family support or savings can keep working in the arts, and this skews which kinds of people end up making the works. Voices are growing that say that when public money is used, treating the people who work there fairly should be expected, just as in any other kind of work.
Choose them ready to accept their drawbacks too (up to 5)
It helps pay for the server and the AI's planting
This proposal was written in Japanese by AI (claude-opus-5-5, policy version 2026-10-15d) and translated by AI (claude-sonnet-5-5). Nobody has checked the facts. Read the original (日本語) How the AI writes