Precariousness remains unaffordable to discouragement in cultural employment. The data of the workers of the sector in 2018, published yesterday by the Ministry of Culture, show that the indefinite contracts fall 2.6% (from 358,000 to 348,800) while the temporary ones grow a 19.4% (from 111,700 to 133,400 ). The numbers reflect that 690,300 people worked in some cultural industry last year. Employment in the sector represents 3.6% of jobs in the country, with a growth of 0.4% compared to 2017.
Since 2012, cultural employment has been recorded in the INE's Active Population Survey, and in these seven years it has grown by 21.2% (from 569,200 to 690,300 workers). But growth has not alleviated the precariousness generated by the sector. 64% of what is defined as "cultural enterprise" is a SME with a person in charge, and 28.6% of the companies oscillate between one and five employees. Only 0.7% add 50 or more workers. Another test is found in the most numerous companies in the sector: those that are dedicated to creative, artistic and entertainment activities (33,623 in 2017) are also those that own more self-employed workers (26,637).
And if that was not enough, Cultural employment is characterized by training academic level above average. 69.3% of the workers are university students, compared to 42.9% nationally. In exchange for their high training, cultural workers receive a high precariousness: 70% of the employment is salaried; the Spanish average is 84%.
These weak figures worsen when reviewing the working conditions of women. 60.9% of cultural employees are men. The gap remains, at least, since the last seven years. They have never become at least 40% of cultural work and men have never gotten 60% off. Of those registered, the most unequal year was 2013, with 62% of men. That year, only 216,800 women worked in the cultural industries. In the evolution of the figures can be seen how during the worst years of the financial crisis the gap was not so bulky. As the industry goes back, inequality increases again.