Kristina Axén Olin (M):
The unemployment insurance fund is basically a transition insurance and not a long-term provision system. The Moderates (M) want a security system that works for a modern labour market, where more people combine employment with self-employment or project work. But then we need to develop the systems so that they become simpler and more predictable, not necessarily go back to old rules.
Malin Danielsson (L):
The Liberals (L) see adult education and folk high schools as central. We have permanent subsidies and special support for folk high schools, so that participants can take courses and study circles without financial uncertainty.
We want to strengthen the conditions for training, creation and development, partly by making unemployment insurance more adapted to, for example, musicians and other self-employed people, and partly through alliances within, for example, music.
Roland Utbult (KD):
I believe that the proposals in Calle Nathanson's report "A security system for all - new regulations for income qualifying for sickness benefit" are a possible way to establish the conditions for cultural workers. This concerns people with irregular income such as freelancers, cultural workers and the self-employed.
Alexander Christiansson (SD):
During this term, we have improved the unemployment insurance fund. Since October 1, 2025, a new unemployment insurance fund has been in effect where compensation is based on income instead of time worked. The aim is to strengthen security for more people, especially at the beginning of unemployment through a higher ceiling. At the same time, the clearer phasing-out creates incentives to get back to work quickly.
Catarina Deremar (C):
Our vision is that the unemployment insurance fund should be a powerful adjustment insurance for everyone. To specifically strengthen cultural creators, we want to do three things: First, modernize the security systems so that they also work for self-employed people, people who combine employment and self-employment and others with insecure employment. Second, pursue an active cultural policy and an entrepreneurial policy that makes it easier to live off your creativity. We also want to strengthen and develop the Music Alliance.
Bjorn Wiechel (S):
In Sweden, professional cultural creators should have fair conditions, but it is also about having stages and places for practitioners to actually work with their art. We also need to ensure that AI development becomes an asset and not a way for large companies to exploit cultural creators, so that you are compensated for the work you do.
Vasiliki Tsouplaki (V):
We want a better unemployment insurance fund. Right now, many cultural creators have difficulty being part of the unemployment insurance fund and also receiving compensation when they are sick or on parental leave. We need a system that works for those who have both short-term employment and self-employed businesses and perhaps receive shorter scholarships. We also want to strengthen the finances of the Theatre, Dance and Music Alliances and unemployment insurance for those who have shorter assignments.
Mats Berglund (MP):
Unemployment insurance is a transition insurance that should provide security during the period when you are changing from one job to another. The new unemployment insurance fund's steep reduction in benefits must be removed so that people have time and the opportunity to change. The unemployment insurance fund should cover as many people as possible, and not exclude people. We still want to have activity requirements in the transition support.
Ahead of the elections this fall, TT is letting a number of culture and entertainment figures ask their most burning questions to cultural politicians - and get answers.
Howlin' Pelle Almqvist's question reads in full:
People always talk about municipal music schools and study circles, but I think the generous previous unemployment insurance has been just as important for Sweden's music export. Will you reinstate the old unemployment insurance that made it possible for people to rehearse for 300 days without starving to death?
