Mr. Chair, ladies and gentlemen, good afternoon.
First, thank you very much for giving us the opportunity to speak about your work on emergency measures during the pandemic.
The Fédération nationale des communications et de la culture, or FNCC, represents approximately 6,000 members in 80 unions. The federation also works closely with cultural unions, including the Union des artistes, the Quebec Musicians' Guild and the Association des réalisateurs et réalisatrices du Québec, to name but a few.
Together, our organizations represent more than 25,000 workers in the media, arts and culture. The FNCC represents both salaried and self-employed workers. Two weeks ago, the FNCC and its partners published a new and very troubling report on the situation of self-employed workers in the cultural sector. In short, the precarious situation that artists, creators and tradespeople in the cultural sector have faced for many decades, combined with the shutdown or increased complexity of activities resulting from the pandemic, has left our members in psychological and financial distress.
Of course, the living arts have been particularly affected by the health measures and closures. However, the entire cultural sector has been severely shaken. Now, just as venues have reopened in Quebec, it seems that we are entering a third wave.
I must point out that the average annual income of self-employed cultural workers doesn't exceed the low-income cutoff for a single person in Quebec. In 2017, this cutoff was $24,220. In 2019, none of the cultural activity areas reached this cutoff, not even the film and video industry.
This precarious financial situation and the weak social safety net available to self-employed workers make them very vulnerable during crises and slumps, which is the case for most of them. When surveyed between December and January, 64% of our members showed signs of high or very high psychological distress. This cannot continue. In this survey, we asked our members what they thought their net income would be in 2020, just from their work in the arts. Sixty-three per cent of the 1,500 respondents indicated that their net income would be less than $10,000, while 15% indicated that it would be less than $19,000. Also, over 40% of the members we surveyed are considering leaving the cultural sector.
Based on these data, we can make a few observations. First, 67% of our self-employed members have received the Canada emergency response benefit (CERB). Without it, many would have ended up with nothing to pay for their rent and food. This measure was most appropriate in providing direct help to cultural workers. Second, only 34% of cultural workers registered for the Canada recovery benefit (CRB). There appear to be a number of reasons for this drastic decline, including the fact that certain criteria, such as a job search, which was required even when the entertainment industry was still shut down, are not realistic in the cultural sector. Also, because of the fear of having to pay money back, when few of them have any savings, many don't take the risk. That being the case, the CRB should be extended for as long as this crisis lasts, and ideally, the administrative burden should be minimized to facilitate access.
Finally, apart from the CERB and, to a lesser extent, the CRB, few programs have reached artists, creators and tradespeople directly. A social safety net is needed for self-employed workers for whom intermittent work is part of the trade or profession. It is absolutely necessary to introduce an income replacement mechanism, without which it will be very difficult to remedy the precarious position of our artists and tradespeople. Need we remind you that without them, there is no culture? Improving the socio-economic living conditions of self-employed cultural workers must be a priority in all the measures that governments are considering.
As for the specific support programs for culture, such as the National Film Board, Telefilm Canada or the Canada Council for the Arts, generally speaking, these funds have been neglected and very rarely indexed for decades, which means that the entire sector was already in a difficult financial situation, and even more so for francophone content. Of course, the money is helping the sector, but it will need a lot of support in the coming years.
In closing, I'd like to take a few seconds to talk about the media sector. We reiterate the importance of placing government-wide advertising first and foremost in our Canadian media, whether in our newspapers or magazines, on television, radio or digital media. This sector was already severely disrupted by the fiscal, legislative and regulatory inequities that exist between them and the web giants.
The government must do everything it can to protect professional journalistic information, especially during these times of pandemic and misinformation, as well as our original cultural production, given that Canadians are spending more time than ever in front of screens.
The wage subsidy has also helped many media companies maintain jobs. It should also be extended for as long as necessary.
Mr. Laflamme and I would be pleased to answer your questions.
Thank you.