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A problematic precedent has been set: in the initial panic of moving their artistic offerings online free of charge, companies have undervalued their own product, says Caitlin Vincent.

There’s a long-running adage about working for free in the performing arts. “The problem with working for exposure,” it goes, “is you can die from exposure”.

Only partly a joke, the saying is also a sober warning to performers. Work in the cultural industries is precarious, and performers rely on a combination of short-term gigs, casual contracts, and “day jobs” to make ends meet. Unpaid work is a common feature of the market, and performers often find themselves working without remuneration in order to make connections or add a line to their resume.

COVID-19 has exposed the true insecurity of the cultural workforce, and now we’re seeing the double-edged sword of “exposure” also extending to arts organisations.

Since March 2020, there has been a worldwide influx of digital arts content. Forced to shutter live seasons, performing arts organisations collectively jumped on the digital bandwagon. From live-streaming events to archival production footage, audiences are inundated with virtual performance events.

In most cases, this content has been offered for free. The Melbourne Symphony Orchestra, Opera Australia, New York’s The Metropolitan Opera, and the UK’s National Theatre, among many others, have streamed live or prerecorded performances on digital platforms for no charge... Keep reading on The Conversation