Income Change Analysis of Japanese Artists by Using Panel Data from 1986 to 2001

Transcription

1 Income Change Analysis of Japanese Artists by Using Panel Data from 986 to Setsuo Suoh Academic Information Systems Centre, University of Hyogo, Japan Yoshiro Matsuda Faculty of Economics, Tokyo International University, Japan Abstract In order to grasp the actual life situation of Japanese professional, non-popular performing artists, such as classic musicians, dancers and actors, we have been conducting a series of questionnaire surveys every five years since 986 to. In the present paper, we have focused on the changes of annual incomes of such artists. The survey consists of two questionnaire forms: A and B. Form A mainly covers careers formation, and Form B annual income, expenditure and annual time allocation. In Form A, we asked questions about artistic activities not only by respondents themselves but also by their parents, grandparents, children and spouse. Returned questionnaire forms have neither individual names nor identification codes. We have conducted the same series of surveys four times for the last years, thus we have four cross-section datasets. Out of them, we have made a pseudo panel data of four different points in time by using individual classification data such as art genre, sex, birth year and birth place together with additional information such as educational history. The resulting panel data may not precisely be correct in that different respondents records may be connected together. In spite of that, the resulting panel data is reasonably satisfactory for statistical analysis in terms of micro data analysis. From the view point of economics, annual income changes from 986 to is very interesting, because of Japan s up-and-down economic situations. Our panel data analysis on Japanese artists income reflects it. The basic analytical tools are Gini and pseudo-gini coefficients for decomposition.. Introduction The objective of the present paper is to analyse the income structure of Japanese professional performing artists such as actors, dancers and musicians from 986 to by using data collected from the Japanese Artists Survey, which was conducted four times every five years by the authors research group. It concentrates only on professionals who have already established themselves as a full-fledged artist, or are, at least, likely to do so in the near future. Although the respondents of the surveys are anonymous, we tried to make a pseudo panel data of four different points in time by using individual classification data such as art genre, sex, birth year and birth place.. Japanese Artists Survey. History and Contents Since 986 the authors research group has conducted Japanese Artists Surveys every five years; i.e., in 986, and. The surveyed objects for the first survey were Japanese professional performing artists belonging to three genres; i.e., classic music, drama and dance. In drama, there are included not only actors or actresses but also directors and staff members such as cameramen, lighting technicians and sceneshifters. Although fine artists have been added since the second survey, they are not included in this present analysis. Because of a number of questions we ask in the survey, they are divided into two questionnaire forms A and B so that a half of the surveyed objects receive form A, and the other half receive form B. The selection of the forms was done randomly. It would lessen the burden of the respondents, thus minimise the number of refusal against our survey. Form A mainly covers career formation together with simple income information, and form B detailed information on income, expenditure and annual time allocation. In the form A we asked questions about artistic background not only of respondents themselves but also of their

2 parents, grandparents, children and their spouse. For sending questionnaire forms, we have compiled artists database from directories of each genre for every survey. As long as they are available, the same updated directories have been used so that an easy comparison can be made with the results of past surveys. The surveys were conducted by mail, and returned questionnaire forms were anonymous. The response rates are shown in Table.. Allocation of Questionnaire forms A and B It would be ideal to be able to collect a full set of information of both forms on the same artist. Therefore, for those who were among the surveyed objects in the last survey, we have switched their questionnaire form from A to B, and vice versa. This results in obtaining a full set of data on both forms A and B for those who replied to two consecutive surveys. For the new entries of the surveyed objects, allocation of forms A and B has been made at random so that the number of each form becomes equal by genre as a whole. In this way of allocation of two kinds of Questionnaire form, there are two groups of artists who replied to all of the four surveys. Respondents in the first group answered forms A, B, A and B from 986 to, and those in the second group answered forms B, A, B and A in this order..3 Distributions of and Gender Analysing income structure of Japanese artists, their distributions of age and gender become very important. In Figures through 3, the age distributions by gender for each survey are shown. For comparison, age distribution of art-related workers of Japanese census is shown in Table I and Figure A in the Appendix, although the classification of artists is different from that of our genres..4 Analysis on Income Structure of Each Survey At first, annual income analyses were made on the four separate sets of survey data. Table shows the average annual income of artists themselves (it is denoted as own income) together with their household income by gender, genre (drama, dance music and fine art) and age group, respectively. Note that there are only a small number of samples in age group over 7 years old, when these figures are referenced. In Figures 4- and 4- bar charts on artists own annual income and their household income by age group are drawn from Table respectively. In Figure bar charts are shown with an emphasis on the between artists own income and their household income. The left hand side of Table 3 shows not only mean value but also standard deviation, maximum, median and minimum of annual income of artists and their households of each survey. Figures 6- and 6- drawn from Table 3 show the comparisons of both artists annual income and their household income of the four data points by genre, respectively. Bar charts are drawn in Figure 7 with an emphasis on the between artists own income and their household income. The of artists own income and their household income is supposed to be earned mainly by their spouses. When we take a look at the ratio of own income to household income of artists (Figure 7), it varies from genre to genre. Its ratios of dance and music are significantly smaller than that of drama. It is mainly because the ratio of female in dance and music is larger than that of drama. In the case of actors engaging in drama, only supplementary amount of income is gained by their spouses (in this case, wives). On the contrary, female dancers of many age groups earn only less than half of their household income. Musicians lie in the middle of actors and dancers. Let us look back on the economic situations of the four data points of our surveys. When the first survey was conducted in 986, Japan had already entered into the bubble economy and its economic growth kept on rising sharply. The second survey was conducted in 99 when our bubble economy just went over its peak and was on the verge of collapse. At a time of the third survey conducted in 996, Japan was in the middle of heavy recession. It has been continuing until the fourth survey conducted in. Such economic trend visibly reflects income changes of Japanese salary earners. Time series data on average annual income of general Japanese salary earners is shown in both Tables II and

3 Figure B in the Appendix. From 986 to 99 wage level rose sharply, and then kept on increasing slightly until 99. After that the rising rate has become almost flat. For comparison, both Tables II and Figure B in the Appendix also show income level of Japanese prestigious orchestra members based on the surveys conducted by Musicians Union of Japan. When Japan was in the middle of the bubble economy, the word Messena was very popular among business companies that had tried to keep their positions as patronage to the artists. It is often said that the artist is easily affected by national economic situation, because the sponsorship by the business world would become difficult to get, when the economic situation becomes worse. When looking at artists own income shown in Figure 6-, artists do not seem affected so badly by collapse of the bubble economy, but further analysis by age group shows different aspect. According to Figure 4-, income level of 4s and s generations (age group from 4 to 9 years of age) of every genre has fallen substantially during 99( nd survey) to 996(3 rd survey). In terms of household income shown in Figure 6-, there seem no substantial changes for every genre after collapse of the bubble economy. According to Figure 4-, actors 4s to s generations, however, suffer decrease by more than one million yen, which is considered to result from a decrease of actors own income, while the lost income of the same generation of dancers and musicians is supposed to be covered mainly by their spouses (in this case, husbands). Household income of actors (Figure 6-) is constantly below eight million yen, while that of musicians and dancers are much higher than that level. Actors own income, however, is not necessarily less than that of dancers. Presumably this reverse phenomenon results from the fact that the ratio of female in dancers and musicians is pretty high and that the income level of their husbands is comparatively high.. Lorenz Curve and Gini Coefficient It is believed that income distribution of artists is more unequal than that of general public. In order to measure income inequality, we calculated Gini coefficients of annual income of those artists who are engaged in the artistic genres of drama, dance and music, together with their household income, and also drew Lorenz curve, as shown in Figures 8 and 9. In calculating Gini coefficients, income is not disposable one but before tax. These Gini coefficients are also shown in Tables 4- through 4-3 for the purpose of comparison with Gini coefficients of the panel data which will be mentioned in the next section. Gini coefficient of annual income of Japanese households of year 999 by household type is shown in Figure C in the Appendix. These figures are the result of National Survey of Family Income and Expenditure conducted by the Statistics Bureau, Prime Minister s Office, Japan. Even if we take into consideration that our income is before tax, Gini coefficients of income of artists are supposed to be much larger than those of Japanese people in general. In Figure D in the Appendix, international comparison on Gini coefficients in the long term is shown. 3. Compilation of Pseudo Panel Data 3. Panel Data of Four Points of Time Panel data is one that follows a given sample of individuals over time, and thus provides multiple observations on each individual in the sample (Cheng Hsiao 986). In other words, it is a cross section data of individuals observed over time. The use of such dataset allows us to build and test more realistic behavioural models that could not be identified using only a cross section or a time-series dataset. Since the samples in our survey data are anonymous, we cannot assign unique identification numbers common among our four surveys. Therefore, it is not possible to compile a panel data by using common identification numbers. Instead of using them, four basic, categorical attributes were selected as matching keys to link observations across different datasets. They are gender, genre (drama, dance and music), year of birth and place of birth (prefecture code). Observations with the same set of attribute values were linked to each other across the three datasets

4 to form a basic dataset from which a panel data would be compiled. Samples that are matched one-to-one in the basic dataset were regarded as panel data, and other samples with many-to-many matching were further given three more attributes one by one; i.e., kin (relationship with parents), place of final school/education (prefecture area code), final school/education (classification code). Every time an extra attribute was added, the same matching procedure was implemented repeatedly. When there still remained samples with many-to-many matching in the basic dataset even after all these procedures, they were sorted by artist s own income in descending order, and then forcibly linked to each other with the same ranking. The actual matching procedure is, in fact, a little more complicated, but more precise explanation is omitted here because of limitation of paper space. As a result of a series of matching procedures, we have compiled panel data of four surveys with individuals; 39 actors, 8 dancers and 63 musicians. As everyone has already realised, it is not strictly panel data in that observations linked together over time do not necessarily belong to the same individuals. We, therefore, call it pseudo panel data. In the right hand side of Table 3, we calculated annual income of artists themselves in the pseudo panel data and their annual household income. We also compiled other types of panel data for different purposes; i.e., () two survey panel data, () first three survey panel data and (3) last three survey panel data. Gini coefficient and average annual income are calculated on these panel data, as shown in Tables 4- through Survivors and Dropouts in Panel Data One of our interests lies in the new entries and dropouts as artists. Although our four surveys do not necessarily cover exactly the same surveyed objects, we may be able to estimate the situations of in-and-out of artists by using our panel data to make a cohort analysis. The illustration below shows the number of dropouts from panel data. In our first survey we had 6 observations, out of which 63 remained in the second survey. In the third survey 7 remained out of 63 from the previous survey. In the fourth survey 86 remained from Survivors and D ropouts in PanelData 43 6 dropout dropout dropout st nd 3rd 4th Survey Survey Survey Survey Note that the final remaining number of observations of 86 is slightly smaller than mentioned in the last section. The panel data we use in this section is recompiled from three sets of pseudo panel data of two consecutive surveys. As we have already mentioned, unique identification numbers common among the four surveys are unavailable, so we have to resort to individual categorical information to make pseudo panel data. Therefore, if the order of matching procedure is different, it is possible that different sets of panel data are produced. However, the figures calculated from panels are presumed to be more or less the same as those from 86 panels. In Figure -, age distributions (by five-yearold groups of both male and female) of survivors and dropouts in the three sets of two survey panel data are shown. Since our surveys have been conducted every five years, we can observe the shift of cohort. For instance, in the first bar chart of Figure -, there were 8 (=94+87) observations whose age was 4 to 44 years of age in 986. Out of 8, 87 panels survived in 99. In 996 these 87 panels shifted to age group 4s. The second chart in the same figure shows 3 panels survived, and 64 dropped out in 996. The surviving 3 panels shifted to age group s in. The third chart shows only 8 panels survived,

5 and dropped out in. The dropouts here does not necessarily mean dropouts from population. They may not simply respond to our questionnaire surveys. In spite of that, it is still interesting to analyse such panels, because there are no such data available elsewhere. Figure - shows the same chart by sex. Tables - through -3 show average annual income of these survivors and dropouts, together with its standard deviation, minimum and maximum. In Tables 6- through 6-3 average household annual income of them is shown by sex. 3.3 Panel Data of Two Points of Time When we use panel data, we are interested in the changes of income of individuals rather than average income of a certain group of people such as genre, sex and age group. As we have seen in the previous sections, the number of panels of four points of time is only around. Since we want to know the income increase/decrease in the individual level between two adjacent surveys, we used three pseudo panel data of two points of time with five year span, in stead of four survey panel data. Increases of annual income of artists engaging in drama, dance and music and their households by age group are shown in Figures - and - respectively. The similar analyses have been made on two groups of art genres; () drama and () dance and music, and the changes on annual incomes of both artists themselves and their households of these groups are shown in Figures - to - and Figures 3- to 3- respectively. Gini coefficient and average annual income of these groups are shown in Table 4- through 4-3. ACKNOWLEDGEMENTS The present research has been supported repeatedly since 986 through 3 by five research grants of the Ministry of Education, Japan. Tables on Japanese Censuses in the Appendix are provided by Prof. Sadanori Nagayama. Other main participants to the present research group are Profs. Hideo Moriya, Tetsuhiko Orihashi, Yoshiko Norioka Sugie and drama director, Mr. Masuo Tasai. The authors thank all of them for their long term, dedicated collaboration with the present research project. BIBLIOGRAPHY Hsiao, Cheng (986) Analysis of Panel Data, Cambridge: Cambridge University Press. Suoh, Setsuo; Nagayama, Sadanori and Matsuda, Yoshiro (999) Income and Structural Analyses of Japanese Artists, Artists' Career Development and Artists' Labour Markets, Support and Policies for Artists, Proc. of International Symposium on Cultural Economics in Tokyo, pp Further Analyses In the present paper, we have focused on presenting our basic data on age distribution and income structure of Japanese performing artists, and have not yet produced satisfactory fact-findings on income structure and its changes over the last fifteen years. We will present more minute findings at the conference.

6 Table. The Numbers of Surveyed Objects and Respondents Response Response Form A Objects Respondents Rate (%) Form B Total M ale Fem ale Total Dram a, st Dance, Survey Music 4,9, ,9 7 3,6 Total 8,8,79., 97,79,48 8,69 Dram a, Dance 4, nd Music 4,44, , , Survey Fine Art 3,978, ,4 938,89 Total,734 3,37.,8,686 3,37,7,48 3,3 Dram a, Dance 3, rd Music 4, Survey Fine Art 4,79,. 6 46, 969 3, Total 4,93, ,33,3,746,78 966,746 Dram a, Dance, th Music 3, Survey Fine Art Total 6,739, , ,366 Note: Because of missing values of art ge nre or gender, some column totals are larger than the actual summation. Gender Table. Artists' Average Annual Income st survey986 nd99 3rd996 4th Genre Total Drama Dance Music Fine art : Artist's annual income unitten thousand yen Household: Household annual income including his/her own income Householholholhold House- House- House- Gender male female Household Household Household Household ,4 698, Total Total , , , , 8, , Total , ,7 67, , 93,37 893,97 767, ,46 97,6 943,34 963, Total ,64 69,44 78, , , , Total

7 Table 3. Comparison of Artists own Income between Original Data and Four Surveys Panel Data OriginalData PanelData N Mean S.Dev. M ax M edian M in N Mean S.Dev. M ax M edian M in Total, , , 47 8 Dram a , , 47 8 stsurvey Dance , Music, , , 47 4 Total, , , 4 3 Dram a , , 3 nd Survey Dance , , Artist's Music, , , 6 Total, , , 6 Dram a , , 4 3rd Survey Dance , ,3 4 8 Music , , 7 Total, 6 3, , Dram a , , 4 7 4th Survey Dance , Music , ,8 6 Total, , , Dram a 33 68, , 7 3 stsurvey Dance , , 33 Music, , , 8 34 Total, , 8 6,3 7, 96 Dram a , , 8 nd Survey Dance , , 7 97 Household Music,4, , 9 6,36 793,, Total, , 7 4 7,3,3 8, 9 Dram a , , , 6 3rd Survey Dance , , Music 77, , 9 7 6,49,8 8,, Total, , ,4 7 Dram a , ,3 8 4th Survey Dance , Music, , ,4, Note: In original data of this table, samples with income over million yen are excluded. (unit: ten thousand yen)

8 Table 4-. Gini Coefficient and Average Annual Income (Drama, Dance and Music) Original Survey Data Two Survey Panel Data Four Survey Panel Data First Three Survey PanelData Last Three Survey PanelData Total Year O bservations O bservations with Data GiniCoefficient Artists' Annual Household Annual Average Annual Artists' Annual Household Annual Note : Samp les with income over m illion y e n ar e not excluded i n this t ab les. Table 4-. Gini Cefficient and Average Annual Income (Drama) Original Survey Data Two Survey Panel Data Four Survey Panel Data Total Year O bservations O bservations with Data GiniCoefficient Artists' Annual Household Annual Average Annual Artists' Annual Household Annual First Three Survey PanelData Last Three Survey PanelData Note: Samples with income over million yen are not excluded in this tables. Table 4-3. Gini Cefficient and Average Annual Income (Dance and Music) Original Survey Data Total Year O bservations O bservations with Data GiniCoefficient Artists' Annual Pa Note: Samples with income over million y en are not excluded in this tables. Household Annual Average Annual Artists' Annual Household Annual Two Survey Panel Data Four Survey Panel Data First Three Survey PanelData Last Three Survey neldata

9 Table -. Artists' Average Annual Income (Year 986) of Survivors and Dropouts in Panel Data between 986 and 99 Dropouts in 99 Suvivors in 99 Male Artists' Annual Income Artists' Annual Income (as of 986) N Mean SD Min Max N Mean SD Min Max -s s , s , 4 3 8, 3s , , 3s , ,8 4s , , 4s , , s , ,3 s ,3 6 97,68,6 6s , 4 964,6 8 8, 6s 4 94,6, ,3 7s , 4,337,8 8, 7s-,6, , , Dropouts in 99 Suvivors in 99 Female Artists' Annual Income Artists' Annual Income (as of 986) N Mean SD Min Max N Mean SD Min Max -s ,4. s , s , s , s , ,4 4s , s , ,3 s , ,336 s , , 6s , , 6s 4 8 6, s 3 38, s , 3 7 (unit: Ten Thousand Yen) Table -. Artists' Average Annual Income (Year 99) of Survivors and Dropouts in Panel Data between 99 and 996 Dropouts in 996 Suvivors in 996 Male Artists' Annual Income Artists' Annual Income (as of 99) N Mean SD Min Max N Mean SD Min Max s,.,, s s s , 4s , , 4s , ,6 s , , s , 8, , 6s 39, , , 6s 3,46,4 3 8, , 7s , , 7s , Dropouts in 996 Suvivors in 996 Female Artists' Annual Income Artists' Annual Income (as of 99) N Mean SD Min Max N Mean SD Min Max s s s s 33, s , ,3 4s 48, 9 4 3, s , s , , 6s , , 6s , s ,3,.,, 7s (unit: Ten Thousand Yen) Table -3. Artists' Average Annual Income (Year 996) of Survivors and Dropouts in Panel Data between 996 and Dropouts in Suvivors in Male Artists' Annual Income Artists' Annual Income (as of 996) N Mean SD Min Max N Mean SD Min Max 3s s s , 4s 96 4, , s 76 96, 4,47,6 6 3, s ,36 6s , , 6s,7 73 3, , 7s , ,3 7s Dropouts in Suvivors in Female Artists' Annual Income Artists' Annual Income (as of 996) N Mean SD Min Max N Mean SD Min Max 3s , s s s , s , , s , , 6s , , 6s , ,86 7s s ,3.,3,3 (unit: Ten Thousand Yen)

10 Table 6-. Household Average Annual Income (Year 986) of Survivors and Dropouts in Panel Data between 986 and 99 Dropouts in 99 Survivors in 99 Male Household Annual Income Household Annual Income (as of 986) N Mean SD Min Max N Mean SD Min Max -s , s , s , , 3s , , 3s , ,68 4s , ,7 4s , , s , ,3 s 3,38 7,689 9, 6,,6 8,6 6s , 4,7,63 8 8, 6s 4,,8 8, ,3 7s ,7 4,499,796 8, 7s-,334, , , Dropouts in 99 Survivors in 99 Female Household Annual Income Household Annual Income (as of 986) N Mean SD Min Max N Mean SD Min Max s ,4,.,, s , ,6 s , , 3s , ,3 3s , ,7 4s 94,39 4, 3,9,34 3 7, 4s , , s 7, , ,4 s , 3, , 6s 4, , ,8 6s , ,7 7s , , 7s , (unit: Ten Thousand Yen) Table 6-. Household Average Annual Income (Year 99) of Survivors and Dropouts in Panel Data between 99 and 996 Dropouts in 996 Survivors in 996 Male Household Annual Income Household Annual Income (as of 99) N Mean SD Min Max N Mean SD Min Max s,.,, s , 9, 3s , s , , 4s 33, 663 3, 9 44, 4s , ,96 s , 8,8 49 8,7 s 3, 4 4, 8,37,47 3 8, 6s 39,44 889, ,8 6s 3,7,7 3 8, 9 8, 7s 3,3,38 6 3, , 7s , , Dropouts in 996 Survivors in 996 Female Household Annual Income Household Annual Income (as of 99) N Mean SD Min Max N Mean SD Min Max s,8.,8,8 s , 4,3 6 43,7 3s , s , , 4s 6, , 3,8 3,9 4s, 46 46, 9,497,374 6, s 8 9 8,8 9,7,68 3, s 9, ,, ,43 6s,4,7, , 6s 9,68,4 4, s, ,8,.,, 7s (unit: Ten Thousand Yen) Table 6-3. Household Average Annual Income (Year 996) of Survivors and Dropouts in Panel Data between 996 and Dropouts in Survivors in Male Household Annual Income Household Annual Income (as of 996) N Mean SD Min Max N Mean SD Min Max 3s s , s ,4 4, , 4s 96 4, 4,3 798, s,73, 4,7,44 6 4, s,.,, ,36 6s 6, ,, , 6s, ,7,8 63 3, 7s 4,3 66 6, ,4 7s Dropouts in Survivors in Female Household Annual Income Household Annual Income (as of 996) N Mean SD Min Max N Mean SD Min Max 3s 3,33 8,, s ,,.,, 4s 7, , s,6 3 34, , s 99 34,4,483 3,9 8, s 6, ,,49,47 4, 6s,96,8 8, 8,6 98 7, 6s , ,86 7s , 7s ,3.,3,3 (unit: Ten Thousand Yen)

11 Figure. Distribution by Genre : Male and Female peson stsurvey(986) Figure. nd Distribution Survey(99) by Genre person: Male 3r Dram a Dance Music Total person d Survey(996) th Survey() person person 6 stsurvey(986) Dram a Dance Music Total person 6 nd Survey(99) person 6 3rd survey(996) person 6 4th Survey() Figure 3. Distribution by Genre : Female person st survey(986) person nd Survey(99) person 3rd Survey(996) person 4th survey() Dram a Dance Music Total

12 Figure 4-. Artists' Average Annual Incomes of Four Surveys by Group st Survey nd Survey 3rd Survey 4th Survey Drama (, yen) D ance Music Note: Samples with income over million yen is excluded (, yen) Figure 4-. Artists' Household Average Annual Incomes of Four Surveys by Group stsurvey nd Survey 3rd Survey 4th Survey Drama D ance Music Note: Samples with income over million yen is excluded.

13 Figure. Artists' Average Annual Income and the Difference from Households' Income of Four Surveys by Group Total (Drama, Dance, Music and Fine art) Total:stsurvey Total:nd survey Drama Total:3rd survey Total:4th survey Dram a:stsurvey Drama:nd survey Drama:3rd survey Drama:4th survey Dance Dance:stsurvey Dance:nd survey Dance:3rd survey Dance:4th survey Music Music:stsurvey Music:nd survey Music:3rd survey M usic:4th survey Fine art Note: Household Income is denoted by gray bar plus black bar Fine art:nd survey Fine art:3rd survey ,4,, Fine art:4th survey

14 Figure 6-. Artists' Average Annual Income by Genre (, Yen) stsurvey nd Survey 3rd Survey 4th Survey Dram a D ance M usic Note: Samples with income over million yen is excluded. (, Yen) Figure 6-. Artists' Average Household Annual Income by Genre stsurvey nd Survey 3rd Survey 4th Survey Dram a D ance M usic Note: Samples with income over million yen is excluded. Figure 7. Artists' Average Annual Income and the Difference from Households' Income of Four Surveys by Genre (, Yen) stsurvey nd Survey 3rd Survey 4th Survey Dram a Dance Music Note: Samples with income over million yen is excluded.

15 Figure 8. Artists Annual Income: Lorenz Curve and Gini Coefficient 986 Gini coefficient.447 Figure 9. Artists Household Annual Income: Lorenz Curve and Gini Coefficient 986 Gini coefficient Gini coefficient Gini coefficient Gini coefficient Gini coefficient Gini coefficient.474 Gini coefficient.3889

16 Figure -. Survivors and Dropouts in Panel Data: Male and Female to 99 dropout survivor s s 3s 3s 4s 4s s s 6s 6s 7s 7sdropout survival dropout survival s s 3s 3s 4s 4s s s 6s 6s 7s 7s- 99 to to s s 3s 3s 4s 4s s s 6s 6s 7s 7s-

17 Figure -. Survivors and Dropouts in Panel Data by Sex to 99 Fem ale:dropout Male:dropout Fem ale:survivor Male:survivor s s 3s 3s 4s 4s s s 6s 6s 7s 7s- 99 to s s 3s 3s 4s 4s s s 6s 6s 7s 7s- 996 to s s 3s 3s 4s 4s s s 6s 6s 7s 7s-

18 Figure -. Annual Income Changes of Artists by Using Two Survey Panel Data (Drama, Dance and Music) 3 3 Legend forx axis Increase by,, to,99, Yen Increase by, to 99, Yen Sam e Am ount of - Decrease by, to 99, Yen - Decrease by,, to,99, Yen From 986 to 99-3s 4s s 6s Am ountofincrease of 3 From 99 to 996-3s 4s s 6s Am ountofincrease of From 996 to -3s 4s s 6s Am ountofincrease of

19 Figure -. Annual Income Changes of Households by Using Two Survey Panel Data (Drama, Dance and Music) Legend forx axis Increase by,, to,99, Yen Increase by, to 99, Yen Sam e Am ount of - Decrease by, to 99, Yen - Decrease by,, to,99, Yen From 986 to 99-3s 4s s 6s Am ountofincrease of From 99 to 996-3s 4s s 6s Am ountofincrease of From 996 to -3s 4s s 6s Am ountofincrease of

20 Figure -. Annual Income Changes of Artists by Using Two Survey Panel Data (Drama) 8 Legend forx axis Increase by,, to,99, Yen Increase by, to 99, Yen Sam e Am ount of - Decrease by, to 99, Yen - Decrease by,, to,99, Yen From 986 to 99-3s 4s s 6s Am ount ofincrease of From 99 to 996-3s 4s s 6s Am ount ofincrease of From 996 to 4s s 6s Am ount ofincrease of

21 Figure -. Annual Income Changes of Households by Using Two Survey Panel Data (Drama) Legend forx axis Increase by,, to,99, Yen Increase by, to 99, Yen Sam e Am ount of - Decrease by, to 99, Yen - Decrease by,, to,99, Yen From 986 to 99-3s 4s s 6s Am ount ofincrease of From 99 to 996-3s 4s s 6s Am ount ofincrease of From 996 to 4s s 6s Am ount ofincrease of

22 Figure 3-. Annual Income Changes of Artists by Using Two Survey Panel Data (Dance and Music) 3 Legend forx axis Increase by,, to,99, Yen Increase by, to 99, Yen Sam e Am ount of - Decrease by, to 99, Yen - Decrease by,, to,99, Yen From 986 to 99-3s 4s s 6s Am ount ofincrease of From 99 to 996-3s 4s s 6s Am ount ofincrease of From 996 to -3s 4s s 6s Am ount ofincrease of

23 Figure 3-. Annual Income Changes of Households by Using Two Survey Panel Data (Dance and Music) Legend forx axis Increase by,, to,99, Yen Increase by, to 99, Yen Sam e Am ount of - Decrease by, to 99, Yen - Decrease by,, to,99, Yen From 986 to 99-3s 4s s 6s Am ount ofincrease of 6 4 From 99 to 996-3s 4s s 6s Am ount ofincrease of 4 From 996 to -3s 4s s 6s Am ount ofincrease of

24 [Appendix] Table. Artists and Art-related Workers Year * Actor ** Musician Painter Total Employed (,) 9,6 9,3 6,7 6, ,4 8,7 6,43 9,6 94,98,93,34 3, ,644,9,7 3, ,8,78 9,8 43, ,79 3,6, 47, ,79 49,6 3,63, 97 36,8 67,6 9,9 3, 98 4,84 94,7,8, ,77, 6,9 8, ,46 4,73 3,383 6, ,487,7 37,64 64,8 7,773,786 38,3 63,3 * Actors, dancers and performers, including those engaging in private lessons ** Musicians including those engaging in private lessons Percentage of female (both sexes=) Year Breakdown of Actor and Musician Actor not Engaging Engaging Total in Private in Private Lessons Lessons Total Musician not Engaging Engaging in Private in Private Lessons Lessons 98 3,77 39,668 4,9,,7 9, ,46 49,98 4,479 4,73,94 9, ,487 6,9 6,7,7,843,77 7,773 8,44 7,79,786,696 99,9 Percentage of female (both sexes=) Source: Population Census, Japan

25 Figure A. Artists and Art-related Workers by Sex * Actor ** Musician (unit:persons) Year Male,97 3,8 6,4 33,89 38,3 43,878 44,639 Fem ale 3,9 3,63,73,438 6,37 9,69 3,34 Male,9 6,39 7, 3,9,78 3,48 3,498 Fem ale 8, 4, 67,6 88,7 9,9,4 98,88 Male,93 6,34 7,4 9,3,48 4,69,638 Painter Fem ale,7,7,66 6,88 9,9,89,46 Source: Population Census, Japan * Actors, dancers and performers, including those engaging in private lessons ** Musicians including those engaging in private lessons 8, 7, Actor 6,, 4, 3,,, 3,9 Fem ale Male 3,63,97 3,8,73 6,4 9,69 3,34 6,37,438 33,89 38,3 43,878 44, ,, Musician, 8, 6, 4, 8, Fem ale Male 4, 67,6 88,7 9,9,4 98,88,,9 6,39 7, 3,9,78 3,48 3, , 4, 3, 3,,,,,,,7 Fem ale Male,7 Painter,66 6,88,93 6,34 7,4 9,3 9,9,89,46,48 4,69,

26 Table. Average Income Changes by Sex from 976 to 3 (Japan) Average Monthly Earnings Annual Income Year Total Male Female Total Male Female Amount (, yen) Increase Rate(%) Amount (, yen) Increase Rate(%) Amount (, yen) Increase Rate(%) Amount (, yen) ,8,88, ,734,99, ,847,, ,949,36, ,77,383, ,9,37, ,3,664, ,393,7, ,478,8, ,66,93, ,647 3,9, ,74 3,9, ,783 3,73, ,9 3,33, ,6 3,486, ,96 3,646, ,3 3,76, ,373 3,839, ,46 3,99, ,496 3,96, ,47 4,8, ,87 4,44, ,89 4,37, ,67 4,4, ,66 4,4, ,67 4,88, ,63 4,34, ,6 4,6,69 Year 3 Average Consecutive Working Years [source] Based on "Basic Survey of Wage Structure" (Designated Statistics No.94) conducted by Ministry of Labour, Japan. Figure B. Average Annual Income of Orchestra Members and Japanese Citizen Orchestra Basic Survey of Wage Structure** Members* Total Male Female 986,647 3,9, ,963,74 3,9,87 988,783 3,73, ,4,9 3,33, ,39 3,6 3,486, 99 4,733 3,96 3,646,3 99 3,3 3,76, ,373 3,839, ,4 3,46 3,99, ,496 3,96, ,36 3,47 4,8, 997,3 3,87 4,44, 998 3,89 4,37,79 999,674 3,67 4,4,6 3,66 4,4,647,63 3,67 4,88,669,777 3,63 4,34,683 3,778 3,6 4,6,69 (unit : Thousand Yen) Thousand Yen Orchestra Members* Total Male Fem ale [source] * Based on Actual Situations on Wage and Labour Conditions published by Musicians' Union of Japan. ** Cited from the result of Basic Survey of Wage Structure conducted by Ministry of Labour, Japan

27 Figure C. Gini Coefficient of Annual Income by Household Type (Year 999:Japan) A lhouseholds Non-single GeneralHouseholds (A l) Non-single GeneralHouseholds. (Salaried Worker) Source: National Survey of Family Income and Expenditure (Designated Statistics No.97) conducted by The Statistics Bureau, Prime Minister's Office, Japan. Figure D. International Comparison on Gini Coefficient USA Australia France Canada Japan Germ any Belgium Sweden [Source] Japan: Year999: National Survey of Family Income and Expenditure. The rest of years: "Economic Analysis - A series of Policy Research Essays", No., Economic Research Institute, Economic Planning ncy, Japan. Foreign Countries: LIS Project.4 InternationalCom parison on GiniCoefficient USA Australia France Canada Japan Germany Belgium Sweden