In the Philippines, Creative Freelancing Comes With a Hidden Cost

In recent years, more and more Filipinos have turned to creative freelancing as a viable source of income. This shift is partly due to the COVID-19 pandemic demonstrating that it’s possible to earn a living while working from home. Many also attribute this to an aspiration of independence that feels at odds with most traditional or corporate jobs. 

The Philippine Institute for Development Studies (PIDS) reports that as of this January, there are approximately 1.5 million registered freelancers in the country, with the sector experiencing a remarkable 208 percent increase in revenue between 2019 and 2020. 

Zooming in specifically onto the country’s creative economy, it’s clear that this sector has also experienced significant growth over the last few years. In 2024, PIDS also reported that the creative economy added to the country’s gross domestic product by 8.7 percent (roughly P1.94 trillion). Employment in the sector also saw an uptick, rising from 7.23 million workers in 2023 to 7.51 million in 2024.

Even President Ferdinand “Bongbong” Marcos Jr. has affirmed the impact of freelancers, both creative and technical, on the Philippine economy. In 2022, the president acknowledged the work of the freelance community during his first State of Nation Address (SONA). “Sila na nagbibigay ng kaluluwa at pagkakilala sa ating pagka [Pilipino], protektahan natin sila,” he said.

Marcos will deliver his fourth SONA on July 28 at the Batasang Pambansa Complex in Quezon City, although it is uncertain whether he will continue to address the continuing challenges faced by the country’s creative freelance community. Ahead of SONA 2025, Rolling Stone Philippines sits down with Filipinos from across Luzon, Visayas, and Mindanao to discuss how freelancing has shaped their lives, what obstacles they continue to face, and what changes they hope will finally be recognized.

Julia Quijano, 24, Cebu

For Julia Quijano, who has been freelancing as a singer since 2021, the gig economy in Cebu comes with its own highs and lows. “In Cebu, people like to help each other out in the music scene,” says Quijano, “and since the community is so small, it’s pretty easy to bump into people who we will end up working with or who can get us for gigs.” She cites groups like TuneCore Philippines, Filla Killa, RVERB Cebu, and Epicenter Studios for helping the local indie community flourish.

But, as Quijano points out, “The downside is being able to honor your own value… Many gigs [that aren’t] corporate or brand events don’t pay a real talent fee,” she explains. “I’ve tried instances where nothing monetary was given… [or] artists would get paid based on gateshare, so depending on how many people buy a ticket, divided among the artists in the lineup… [or] a small honorarium just to reimburse gas expenses.” 

Quijano also notes that gigs hosted by large corporations, although they generally pay better, often come with limited creative control. “The catch is that most of the time, these corporate or brand events prefer artists to sing covers and not exactly their original music,” she says. “[Corporations] hardly get freelance or independent artists and mostly have music management partners that they have relationships with, whose roster of artists will be prioritized.”

“I hope that in the near future,” she adds, “freelancers in the provinces feel that they can really make a living out of what they do and not have to treat it as a ‘side hustle.’”

Junyee, 83, Agusan del Norte

Junyee, one of the pioneers of Philippine installation art and a nominee for the Order of National Artist, remembers the excitement he felt starting out as a young artist in Butuan, Agusan del Norte. “It was exhilarating… I was in Wonderland,” he says. “My problem was I had no support. My parents, especially my Chinese father who was a businessman, didn’t want me to study fine arts. He said I’d die from starvation, and to be fair, that nearly happened several times when I was struggling for my art. But I persevered, and now here I am.”

“In [Butuan], there were very few artists,” he continued. “It wasn’t a good business to be an artist in such a small town. There’s no market there. So, unless you’re really crazy about your work, like me… There was no support.” After leaving Butuan to pursue the arts in Cebu, Junyee recalls how he had to find odd jobs to survive, which included working as a mortuary assistant in funeral parlors around Cebu. “I did not enjoy the struggle,” he says, “but now that it’s over, it’s like a dream.”

Looking back on how the country’s art scene has changed since he first got his start in the ‘70s, Junyee observes how a lack of “originality” among a new generation of artists. “Things always change,” he says, “and as they say, the only permanent thing is change. But as far as originality… There are very few Filipino artists doing original, contemporary work. Maybe more than 90 percent are just doing modern or postmodern work, but nothing contemporary.”

Mila Nadala, Cebu

“I started freelancing when the college department at the Colegio de la Inmaculada Concepción closed and I had to open my own studio,” says Mila Nadala, one of the most respected classical pianists in Cebu. Over the past few decades, Nadala has dedicated herself to mentoring young pianists and musicians, nurturing the next generation of performers in the region.

Nadala has observed that Cebu has seen a rise in freelancing among musicians, teachers, and performers alike. “[It] gives them the freedom to do their thing,” she says. “The music community is rather small, and we all know each other. We always know the right musician to call.”

Although Nadala acknowledges the tight support system that exists among Cebu’s music community, she does wish that a sort of agreement existed to standardize fees. “Some charge too high and others charge too low,” Nadala says, emphasizing that a more consistent pricing structure would ensure fairness between freelancing musicians and clients.

Caezar Zephaniah B. Melliza, 25, Cagayan De Oro

“Being a freelancer really opened up a lot of new doors for me,” says Caezar Melliza, who started taking on project-based jobs as a graphic designer in 2019 before shifting to becoming a full-time virtual assistant.

“Freelancing is becoming a new norm in Misamis Oriental,” notes Melliza. “What’s interesting is how people are starting to realize that they don’t have to go abroad or even leave the city to build a good life. With decent internet and the right skills, they can work with global clients from their own homes. There’s a growing sense of freedom… It’s becoming a lifestyle that a lot of people are consciously choosing.”

“Agencies, online resources, and Facebook groups have played a huge role in guiding my freelancing journey,” adds Melliza. “These communities have been valuable not just for learning tips and improving my skills, but also for staying informed, like how to avoid scams, where to find reliable referrals, and even how to outsource work when needed. That kind of support makes a big difference, especially when you’re just starting out.”

“I hope to see a major shift in how Filipino freelancers are valued, especially by local agencies,” says Melliza. “Many of us choose to work independently rather than be employed by virtual assistant agencies simply because the compensation offered is far too low.”

Kublai Millan, 51, Cotabato

Kublai Millan, the prolific Mindanao-based artist best known for his monumental sculptures, still remembers how hard it was for him to break into the nation’s fine art scene. “I started when the Internet was very young,” he says, “and there were no social media and online networks outside mine. I had to endure years of being [a] hungry artist. It helped that we had this family-owned hotel that I filled with my art from the ground to the roofdeck.”

When asked if he felt that there were any resources that helped support his creative career, Millan says, “At the beginning? None. Just my parents and friends sent over by the Universe.” However, he does concede that both the government and private sector have, in recent years, provided more support in terms of bringing his art to larger audiences. “It’s a symbiotic relationship,” he says. “My art patrons support my advocacy, and my advocacy brings in more art patrons.”

Millain stresses that any future changes in freelancing depend on both freelancers themselves and the government. “[Freelancers need to] learn the landscape, navigate the legalities, do honest business, and strive for growth,” he says. “What’s left to wish for is a government that nurtures individual business by enhancing an environment that nurtures small enterprises and freelance workers instead of squeezing the life out of them.”

Mac Villaluna, 33, Makati

Before beginning his decade-long career as a freelance photographer and consultant, Mac Villaluna first worked a corporate job in the retail industry. Wanting to earn more and have more control of his time, Villaluna eventually made the pivot to freelancing. 

“Looking back, that mindset was a bit naive,” he admits. “The first few years weren’t easy. I felt like I was stuck in a loop I had created for myself: facing constant struggles, especially financially. I needed a steady stream of bookings and shoots just to earn the same as I did in a 9-to-5 job.”

“Freelancing in the Philippines can still be quite challenging,” says Villaluna. “Right now, there are so many freelancers in the mix so the competition can be intense. Some freelancers end up offering lower prices just to land projects, which isn’t always sustainable. On the upside, there are websites and platforms out there that [we] can use to find clients, and social media’s great for showing off your work.”

When asked if he feels that there’s any outside support for the country’s freelancing community, Villaluna acknowledges that there has been progress as of late. “It’s not perfect yet, but the community is definitely moving in the right direction, and that’s really encouraging,” he says.

“I really hope there’s more fairness when it comes to taxes and finances,” he says when thinking about how he hopes the freelancing landscape evolves in the future. “Not just for freelancers, but for all paying citizens. No more ‘taxation without representation,’ so to speak. We all deserve better support and transparency when it comes to how our money is handled.”

“Lastly, I hope to see a more competitive standard when it comes to pay,” he adds, “so freelancers aren’t getting low-balled or undervalued for the work they do.”