Many artists struggle to make a living due to an outdated payment system. A new law introduces a new way for creators to get up to 10% of the profits from their work.

This series looks at the new law and its impact on the arts. It explores the opportunities and challenges of bringing Vietnam's performing arts into the cultural industries.

Performing arts are a team effort, but many artists struggle to earn a living. They work hard, but the pay is often low.

The current payment system is standardized and does not reflect the hard work and creativity of artists. A new law may change this.

Injuries are common in the performing arts.

Dancer Dam Han Giang studied abroad and became a successful ballet dancer in Vietnam.

Giang is one of the few Vietnamese performers to have a prominent career in ballet. He has won awards and now teaches dance.

Giang teaches dance students.

Despite his success, Giang says being a performer is not easy.

Injuries are part of a ballet dancer's life. The career is short, and the pay is often low.

Meritorious Artist Lo Thuy has a similar story. She trained in circus arts and won awards.

The physical demands of performing arts are high, but the pay is often low.

The payment for performers is sometimes very low, not even enough for physical therapy.

Performers may not earn enough to support themselves and their families.

Circus performers face many dangers and injuries.

Ballet dancers can get hurt while dancing en pointe.

Circus and ballet performances are always intense and require a lot of physical effort.

A singer may just rehearse on stage, but a circus artist must perform at full intensity.

The old payment system is too low for performers. A new law may change this.

Circus is a risky art that requires a lot of physical effort.

Performing arts cannot be mass-produced like other products. They require a lot of creativity and effort.

A major production takes a long time to develop and requires a lot of energy and effort.

The old payment system is too restrictive and does not reflect the value of performers' work.

Performing arts like circus and ballet require intense physical effort.

The payment system for artists has not changed in a long time and is now too restrictive.

The old law governing royalties and remuneration for performing arts is outdated.

State-run institutions have limited budgets and cannot pay performers enough.

Talented directors and choreographers may decline to work with state-run institutions due to low pay.

Even if institutions want to pay performers more, they are limited by the budget.

Private companies can pay performers more, creating an uneven competitive environment.

The royalty and remuneration frameworks are divided into categories and are based on a percentage of the base salary.

The base salary has increased, but the percentage-based limits remain a constraint.

A production may receive a lot of investment, but the payment for performers is still limited.

Public arts institutions are struggling to retain talent due to low pay.

Accomplished artists often have to work outside of state institutions to supplement their income.

Stage artists face frustrations beyond low pay, including gaps in copyright protection.

Theatrical works can be filmed and broadcast, but the distribution of benefits is often unclear.

Derivative works in the performing arts can generate controversy.

A stage script may inspire other works, but the original creators may not receive fair compensation.

Performers are often in a weak position when negotiating contracts and may not receive royalties.

Many stage artists sign contracts that provide only a one-off performance fee and no royalties.

The struggles of performers and public theaters have become a major obstacle to the development of Vietnam's cultural industries.

A new law introduces a new mechanism for 'incentive royalties' to change how state-run arts organizations operate.

Tinh Le