World Intellectual Property Organization (WIPO) (2024). How to Make a Living from Music, third edition. Geneva: WIPO. This publication is the third edition of a practical guide aimed at musicians, songwriters, and music industry professionals on how to generate sustainable income from musical creativity in a rapidly changing digital environment. Written by David Stopps, an […]
Ehlinger, A., Thomas, A., Kretschmer, M., Battisti, M., Saenz de Juano Ribes, H. (2025). The Director’s Cut: Unpacking Earnings, Contracts and Working Practices. Highlights from the UK Screen Directors’ Earnings and Contracts Report. Directors UK & CREATe, University of Glasgow. This document presents key findings from an independent study commissioned by Directors UK and conducted
Karoulas, G. (2024). Skills diagnosis study: A theoretical and empirical approach. “Actors”. Athens: INE GSEE. This study explores the skills required for the acting profession, combining theoretical and empirical approaches. Through qualitative and quantitative analysis, three main axes are examined: the structural factors of the labor market, the processes of acquiring skills, and the analysis
Presentations by Christina Karakioulafi, Alexandros Baltzis and Achilleas Piliousis, Yannis Tsioulakis, Antigoni Papageorgiou
Participation in a day conference of the Ministry of Culture Read More »
Clarke, M., Kula, W., Fengler, M., Pencheva, G., Vermeij, R., Ebert, L., & Moroz, L. (2024). Creative Pulse: A Survey on the Status and Working Conditions of Artists and CCS Professionals in Europe. Survey Report. Panteia & Culture Action Europe. This document presents the findings of a European survey carried out between December 2023 and
International network for contemporary performing arts (2024). Fair Pay for Artists and Independent Cultural Workers. A Guide for Cultural Organisations, Funders and Policymakers. IETM. This guide advocates for fair pay for artists and independent cultural workers, highlighting the widespread underpayment and economic insecurity within the arts sector. It acknowledges the structural problems and historical undervaluation
Hancock, P. & Tyler, M. (2025). Performing Artists and Precarity: Work in the Contemporary Entertainment Industries. This open access book focuses on the distinctive experiences of freelance and self-employed live performers in the UK’s live entertainment industries It provides an in-depth account of their working lives during COVID-19, showing how their experiences of the pandemic provide
Pulignano, V., & Domecka, M. (2025). The Politics of Unpaid Labour: How the study of unpaid labour can help address inequality in precarious work (p. 320). Oxford University Press. This book introduces a theory of the politics of unpaid labour, advancing our understanding of inequality within the context of precarious work. Arguing that this theory can help
In the context of the research project LaPreSc (National Recovery and Resilience Plan “Greece 2.0”, funded by the European Union – NextGenerationEU, Implementation Body: HFRI – Project Number: 16313, Beneficiary: University of Crete), a comprehensive research initiative has been developed, comprising in-depth interviews and a survey on social cohesion and precarious work in the cultural and creative industries (CCIs). This research is currently underway. The survey is designed to collect quantitative data for the two theoretical constructs, with the aim of investigating the relationship between them within these sectors and in a country where research on artistic and creative labor is relatively limited. This paper addresses issues pertaining to job precariousness. It delineates the process of generating observable indicators for its measurement and elucidates the methodological challenges that arise in analyzing this construct and operationalizing it for empirical research purposes.
Paper presented at the 6th Conference on Cultural and Creative Industries Read More »
Prousali, E. (Ed.). (2023). Performing Arts in the 21st century. Contemporary Practices and New Perspectives. Athens: Eurasia Publications. In the 21st century, it is now obvious that the aesthetic drama is inextricably interwoven with the social drama, as R. Schechner analytically suggested in his famous “Infinite Loop.” Schechner’s scheme captures the direct interaction of art