How can small artists speed up the “PACE” for global success?

Filipino creative workers contribute substantially to the Philippine economy, yet access to international opportunities may depend heavily on whether they can afford travel, documentation, promotion, and representation. This raises the question: do existing public policies address these barriers adequately? 

Philippine Creative Industries have been given support through laws for artists in general and in preservation of cultural arts. However, artists and creative workers still have calls to action that need addressing. 

According to the Intellectual Property Office of the Philippines (IPOPHIL), the creative industries contributed 7.8% to the country’s gross domestic product, which is roughly 17.8% of total employment in 2025. Therefore, creative workers make up a significant percentage of job opportunities in the Philippines. With this considered, is the PACE Act’s eligibility rules and resources sufficient to distribute benefits fairly across creative fields?

Following the establishment of Republic Act (RA) 11904, also known as the Philippine Creative Industries Development Act, in 2022, the Philippine Agency for the Creative Economy (PACE) Act, or Senate Bill No. 2517, was filed by Senator Paolo “Bam” Aquino IV last September 30, 2026. 

Alongside Senator Aquino, SB19 and their management company, 1Z Entertainment, co-developed the bill the same day they visited the Senate to specifically call for more attention to international mobility and bureaucracy in flying abroad. 

Proposed benefits of the act include facilitation of global market access for Philippine creative goods and services, international partnerships, assisting artists for international festivals, airfare and transportation, visa and travel documentation facilitation, travel insurance, and other financial and logistical needs of artists when travelling overseas.

The PACE Act is yet to become law as it still has to go through legislative processes. As of November 1, there are no recent updates yet about the stage of the bill’s approval before it will be passed into law.

Prior to their visit to the Senate, SB19 released their song “VISA”, which reflected their various struggles when they had to fly abroad for their Lollapalooza performance in Chicago. This was one of the concerns that inspired them to propose the bill with Bam Aquino.

SB19 acknowledges the calls of Filipino artists and creative workers who also vow to reach the global stage. Through their efforts in proposing the PACE Act, they also shared the personal challenges they faced despite already being a mainstream artist with independent resources.

If an artist as big and successful as SB19 faced difficulties in travelling abroad, what more for artists and creative workers who do not depend on personal wealth, international opportunities and accommodations, and celebrity status?

Rolling Stone Philippines featured independent artists and producers in 2025. The report showed that creatives from the independent scene told more about the status of Philippine music without the mainstream spotlight.

Ahmad Tanji, lead vocalist of indie pop band We Are Imaginary, believes that there is no shortage of talent in the Philippines. The recent trends and concept of virality to giant streaming platforms like Spotify does reach more listeners. To him, musicians are now focused on promotion and diminishing artistry. He observes that “what stands out on the international stage is ingenuity”, and not all artists can afford to step on that stage.

The reality is that big artists have structural backing that creative workers from the independent scene don’t. Maybe this is why art is viewed as impractical, because it is selective. Indeed, the arts are mostly passion-driven, but they can also put food on the table if sustained well.

Matty Juniosa, for instance, was also once a small artist who had personal resources to fly overseas and audition for Britain’s Got Talent after he felt like “a singing competition loser” after finishing Top 12 in Idol Philippines in 2019. When he stepped on a global stage in front of Simon Cowell, he gained virality and support from fellow Filipinos. Now, he appreciates limitless opportunities because he finally established his own identity as an artist. But then again, not everyone can afford what he did.

After years of hard work, SB19 was supported by their talent management company, 1Z Entertainment. They also expressed support for the Philippine Creative Industry, vowing to turn real-life struggles into actionable solutions. According to their blog last October 6, SB19 experienced firsthand challenges in bringing their music and shows to other countries, as well as the difficulties in processing travel papers and a lack of structured support for international performances. 

Libya Montes, founder of Pawn Records, believes that small artists are the ones most left behind because they are the ones who lack stable fan bases that mainstream artists already have. 

On a local level, small artists shoulder most expenses they need to grow. If the PACE Act will be passed, will it provide more financial support for creative workers that wish to expand the potentials of their craft?

RA 7356, or the “Law Creating the National Commission for Culture and the Arts (NCCA),” stated in Section 12 of its mandate that the commission will “extend recognition of artistic achievement through awards, grants, and services to artists and cultural groups which contribute significantly to the Filipino’s cultural legacy.”

It is right to support art that contributes to cultural legacy, but it should also include lesser-known names who produce works that signify Filipino tradition. If an artist’s work does not contribute “significantly” to culture, what are the standards that will make it? 

If a small artist doesn’t have enough resources, proper funding, and exposure, what venues can the government support them with for them to enjoy the benefits of creative laws?

Lack of support for creative workers still exists. The proposed PACE Act should reflect more prioritized action for small artists even if they don’t directly impact the economy yet. Small artists shouldn’t have to ask for structural backing and should operate independently while receiving sustainable support from public policies.

By providing sufficient support to independent creative workers, they can reach newer heights and eventually achieve their dreams of global success.

In line with RA 11904, President Ferdinand “Bongbong” Marcos Jr. also signed the Philippine Creative Industries Development Plan (PCIDP) for 2024-2025 last October 2025, which was adopted through Memorandum Circular No. 103. The plan’s vision is to make the Philippines Asia’s premier creative hub by 2030. The plan also vows to support freelancers and independent creators.

Even with the plan’s approval last year, the creative industry is still far from reaching its vision. A lot of artists have yet to feel the improved access to the benefits the plan promised. 

The Philippine creative sector also comprises micro, small, and medium enterprises (MSMEs) that can be seen in private establishments and bazaars that they have to pay for with personal money. The PCIDP can cater to MSMEs by providing public spaces where they can promote their business and products. After all, the plan aims to fund physical creative zones and co-working spaces. If so, will the processing of permits to operate creative stalls be as difficult as it still is today?

One concern that’s been recently addressed is the lifting of authorization or permits for photographers in Intramuros, as approved by the Department of Tourism (DOT) last October 25. 

The use of professional cameras in public spaces should be generally allowed, not just in Intramuros, because most photographers are freelancers. The global recognition of Filipino photographers is another discussion that needs attention.

A cultural article on Preview.ph showed that some artists feel the need to follow trends to develop sustainable voices. 

The truth is, small artists lack the most opportunities, especially on an international scale. They lack the affordability to travel, promotion or marketing access, proper sponsorships and representation, and more. Most of these are barriers that the government needs to address further through existing laws.

Regional areas also still call for support for reduced taxes and support from the government to showcase their works in museums in Metro Manila. 

An example of this is Rappler’s feature on emerging artists from Mimaropa, who wanted their works to be recognized more. While the report was from 2024, a lot of provinces like Mindoro are still struggling to afford expensive tools and materials to work on their art. 

International mobility is a pressing need for creative workers, as worldwide opportunities should always be open to all Filipino creatives and artists, even small ones.  

Does the bill create an accessible pathway for small artists, or does it mainly offer assistance to those who have already secured invitations or international engagement?

The Benguet Young Artists’ Workers Association (BYAWAC) has always been expressing concerns about the promotion of their cultural heritage through different art forms such as weaving and visual arts. They highlighted specific concerns that need addressing for creative workers in Baguio City, such as high local taxes, fair compensation, competition from Artificial Intelligence (AI), and other restrictions for public art. BYAWAC calls for institutional reforms and policy changes.

Buskers are also part of the street performers and also experience bureaucracy in securing permits to perform in private establishments like malls and parks. Alyansa Para sa Sining sa Kalsada (APaSiKa) also promotes buskers’ rights as they seek more venues and public places to showcase their music.

Overall, small artists are still advocating for local pressing issues that are yet to be addressed and supported by the government. If such issues are still consistent, it will take a long while for artists to attain global recognition without structural backing, personal wealth, and fame.

What creatives truly need are affordable training opportunities, low taxation, resources and equipment, accessible venues, fair compensation or talent fees, professional international deployment, and sustainable employment.

If not excluded, the sectors that might not fully enjoy the benefits of the proposed PACE Act will be from the freelancing, independent, regional, and indigenous scenes. While a major proposal of the PACE Act is to overcome international borders, it concentrates more on art forms that match the global market.

The most important question is: How can the government ensure that the PACE Act will apply and be accessible to all?

Article: Angel Camille Dio

Graphics: Justine Ceniza