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Dignity at work 2: Discrimination in the Music Sector
Dignityatwork2: Discriminationin the music sector
In September Septem mbe b r 2022 2022, , the th t e ISMISM published publis shed its it i s latest latest report repor o t, , D Dignity i ignity at workat work 2: 2: D Discriminationis i crim min natio i n in the music sector. It was a follow-up to the ISM’s 2018 reports, Dignity at work and Dignity in study, which investigated the prevalence of discriminatory behaviours experienced by those working or studying in the music sector. Dr aKathryn Williams
oPhoto: Bruce Childs
Dr KathrynWilliams,m ISM’sResearch & Policy (EDI) Officer,Policy(EDI)Officer presentsthe findings from fromthe thereport reporton ondiscriminationwithin the themusic musicsector sectorwhichw sheco-wrotewith our ourcurrent currentPresident,Preside VickBain
In 2022, this came out at 66%. Other findings include:
78%
of discrimination was committed against women
58%
was discrimination identified as sexual harassment
The survey received 660 responses from people who work across the sector, including education, performance, composition, production, and venue staff. Unfortunately, we found that the situation is getting worse for the music workforce. In 2018, we reported that 47% of respondents had experienced discrimination at work (defined as direct and indirect discrimination, harassment, victimisation).
72%
was committed by people with seniority or influence
88%
of self-employed people did not report their experiences
We also found that the more protected characteristics a person has, the more likely they are to experience multiple forms of discrimination; for example, 80% of women with disabilities and 90% of non-White respondents with disabilities.
Nearly a 1000 comments relayed deeply felt fear and despondency at the realities of working in the music sector. The following is a breakdown of discrimination experienced by category of work capacity (respondents could select as many work capacities as applied to them):
Studio and live music event workers both showed the highest at 76%. Comments included:
75%
Arranger/composer/ producer/songwriter
68%
Exam board staff/examiner
64%
Animateur/conductor/ musical director
65%
Educator
67% 71%
Group performer (band, chamber music, choir, musical theatre, orchestra, opera companies)
Individual performer (accompanist, church musician, DJ, instrumentalist, singer)
76%
Live music (crew, event/festival staff, promoter, stage manager, sound engineer, venue staff)
72%
Music executive (artist manager, music agent, music publisher, record label)
65%
Not currently working (including retired)
62% 76% 66%
Professional ensemble assistant/ manager/staff Studio (assistant, session musician, sound engineer) Other
Comments detailed some of the locations where discrimination, or worse, had occurred: on stage, in rehearsals, on tour buses, teaching in schools, at networking events, during performances and in unwanted social media messages. No area of work reported levels below 62%.
Our research showed that 88% of self-employed people didn’t report their experiences of discrimination. 94% of them had no one to report it to. 69% feared losing work or victimisation. Respondent comments included:
‘Didn’t want to appear difficult to work with. ’
Often, the fear of being subjected to reprisals stops those who have suffered discrimination from making a complaint. Most musicians are freelancers and will not have access to the type of HR functions found in more traditional workplaces. The survey data suggests that discriminatory behaviour is not recognised as being unlawful at the time, because it is so common and therefore just an accepted part of the culture of working in music. For too long, harassment and discrimination have been accepted as part of the culture; 55% in our survey said, ‘it’s just the culture here’ .
Our research provides evidence that confirms the scandalously unsafe culture of the music sector. The largely unregulated music workforce is left to suffer in silence with a culture of acceptance and fear, fuelled by power imbalances and an inadequate legislative framework.
The report makes 10 recommendations: six to government and four to the music sector. They include:
1. Amend the Equality Act 2010 to extend protections to freelancers 2. Reintroduce rights around third-party harassment, and extend the time limit for bringing discrimination cases from three months to six months 3. Implement a mandatory duty on employers to protect workers from harassment and victimisation, as recommended by the
Women and Equalities Select Committee 4. Music membership organisations to incorporate a members’ code of practice within their governance structure that will allow removal of offending member 5. Funding bodies to require that all supported organisations commit to training on discrimination and harassment, alongside written procedures on how complaints will be upheld, and provide a mechanism for individuals to raise complaints anonymously directly to the funding body 6. All organisations such as orchestras, studios, venues and labels to promote a written policy clearly defining all types of discriminatory behaviour and provide safe, anonymous mechanisms to raise complaints.
The brave testimonies from hundreds of people paint a picture of unsafe workplaces where perpetrators face no repercussions and there is a scandalous lack of action by venues, contractors and employers. Solutions that will be effective in tackling these unsafe workplaces are urgently needed. We have launched a new campaign, #Dignity2Work, to drive these changes forward.
Visit ism.org/news/reports to read the report. If you suffer from discrimination don’t delay in contacting and taking advice from the ISM legal team (legal@ism. org). Timescales are short for claims under the Equality Act 2010; they have to be presented within three months of any discriminatory act or omission.
