This is the second in a series regarding the impact on gig workers
There are many that have become victims of the COVID-19 induced economic crash.
The retail salesperson, the hairdressers, the
masseuse, the front counter staff at personal service-oriented businesses. Some businesses were mandated to close, others, like mine (newspaper) found that ad sales had dried up. We may not like but who is to blame? Nobody. Here's to hoping that the paper stays alive, that the remaining reporters keep telling the stories and disseminating the information we need to hear.
There is a unique set of workers or perhaps they are becoming the new norm. The behind the scenes workers, the "Gig workers". Those in theatre, music, art, and film. Many, like Ray Strachan who have lost contracts. You can listen to Ray's story here. I have reached out to those gig workers primarily in music and theatre to get an idea of what they are feeling and how they are approaching this weird reality.
We will continue to share the stories from these amazing contract workers. There is no telling what things will look like after this moment in history. I hope that in the future we will better protect them against these situations
Britt Meierhofer - Musician/ Record Producer - Good Egg Records
With everything social pivoting to screens,
I find myself burnt out on it and resisting digital mediums to focus on tactile work. I was planning on mixing down some old demos, but instead I've been reaching for my guitar and reconfiguring my electric rig, and have even been picking up my acoustic guitar on the regular. I've been focussing on my electric set up for the past year or so, so it's been nice to revisit playing on the acoustic. Self-isolating (and the varied reflections and feelings that have accompanied it) has also provided the inspiration and space to write new material. With the newfound abundance of time I've also had the opportunity to haul out my old paints and canvasses, a hobby which has been a treat to dig in to again.
Stewart Arnott - Actor based in Toronto
I was in a beautiful production of “Room”, adapted for the stage by the novel's author Emma Donaghue, and we were about to open at The Grand in London, Ontario, then move it to Toronto in the Mirvish season. A heart-filled, important story and we knew we had a fine, fine show. Three previews with ecstatic audiences told us so. And then - we were done.
This production may have another life, and we all want to believe that. But meanwhile, I lost half of my contract, and then teaching and corporate coaching work which was going to be my bread and butter for the summer... vanished. So, panic? Be miserable and sad and sorry for myself? How can I be when the world is collectively facing a challenge unlike any we've know in the past 100 years
So, with a home and a wonderful partner – so lucky – I am determined to do some neglected inner work, get my cello practive back on track, dig into longed for books and dig even deeper into my beloved gardens. And volunteer, because our local charities and food banks are already facing unprecedented pressure to help and to sustain a suddenly far more vulnerable group of marginalised folks. How to do that safely is what I'm trying to figure out.