The impact of SB357 on state laws is significant, as it establishes clear requirements regarding child labor in the arts sector, particularly by requiring studio teachers to be present with child performers at all times. By promoting education and safety measures, the bill aims to enhance protections against potential exploitation in the entertainment industry. Additionally, it sets limits on working hours that vary based on the age of the performer, reinforcing the standards outlined in the existing Child Labor Act. This adjustment acknowledges the importance of education and health over labor, reflecting a broader societal commitment to the welfare of children.
Summary
Senate Bill 357 focuses on the regulation of work conditions for children in the performing arts industry. The bill mandates the presence of a studio teacher for children under the age of sixteen who are employed in performing arts roles, such as acting in films or theater productions. This act amends existing child labor laws to extend protections for young performers, ensuring that their working hours are limited and that their health and safety are prioritized during performances. The bill specifies permissible working hours based on age, aligning with a commitment to safeguard the well-being of child performers while allowing families to engage in the entertainment industry legally.
Sentiment
The sentiment around SB357 appears largely supportive, particularly from advocates of child welfare and labor rights. Proponents argue that the bill will create a safer environment for young performers and promote responsible employment practices in the industry. By enforcing the presence of studio teachers, it aims to ensure that children are not only protected physically but are also provided with necessary educational resources while working. However, debates may arise regarding the financial implications for smaller production companies or independent filmmakers who may struggle to meet these new requirements.
Contention
Notable points of contention revolve around the balance between protecting child workers and the potential economic impact on the performing arts industry. Critics may argue that the necessity of having a studio teacher present for every child performer could pose additional burdens on productions, particularly smaller or independent entities that rely heavily on flexible working arrangements. This raises concerns about creating barriers to entry in the industry, thereby limiting opportunities for many young aspiring performers. Yet, supporters emphasize that these protective measures are essential for preventing exploitation and ensuring that working conditions meet appropriate safety standards.
Provides for parental authority of married persons, obligations of children, parents, and other ascendants, and provisional custody by mandate. (1/1/16) (EN NO IMPACT See Note)