Discussion Reports
Making Change Through Unionisation
8 June, 2020
DISCUSSION EVENT #1
Making Change through Unionisation
facilitated by KATRIONA BEALES
June 8th, 2pm - 3.30pm
In response to the 5 video case study presentations, we are holding a series of group discussions to explore the themes of the presentations in more detail. Making Change through Unionisation was a discussion facilitated by Katriona Beales, one of the founders of Artist Union England.
REPORT DOWNLOAD (pdf)
OUTSET
The aims and intended areas to cover were:
THOUGHTS EMANATING
Is there a difference for artists between being a member of a trade union, and being part of artists’ organisations such as a-n or axis?
● A major difference is the ability of / possibility for a union to hold employers to account.
○ For the individual artist, there is a sense of strength in negotiating positions around fees and terms of employment, to be able to point to ‘your’ trade union’s official principles.
● Trade Unions have greater campaigning ability
● Trade Unions hold an independent position - they are funded through their membership, and cannot receive funding from employers or potential employers
○ Artists’ Union England, for example, is not allowed to receive Arts Council England funding – this offers a sense of independence – and for example, recently allowed the chance to challenge the appointment of Elisabeth Murdoch to the National Council of ACE by Nicholas Serota.
● Individual Trade Unions are part of a wider national & international Trade Union movement
○ For example, Artists’ Union England has gained great support from the wider Trade Union movement and the TUC - after an initial struggle to be recognised and taken seriously in the 1970’s (when the first attempt by artists to formally unionise was made).
○ This offers a chance for advice and support from new colleagues, across discipline areas (eg speaking to Musicians Union for advice) & national boundaries (eg help from the Scottish Artists Union while getting established). AUE are then passing this on to help a group in Northern Ireland & would like to extend this support to artists looking to unionise in Wales.
A significant issue facing artists when looking at unionising is around financing and a critical mass of members. Trade Unions are barred from accessing public funding, and so need to raise their own funds – often through membership subscriptions – and this leads to a “chicken and egg” situation – members are attracted by strength of organisation, but a union can’t strengthen without the ability to attract members.
------
Solidarity is a word that gets bandied around a lot but it would be helpful to understand what that is and how it functions. Anyone up for defining solidarity?
The group had a go at defining this much used term –
● A sense of advocating for each other and the sector
● Not putting yourself first. Thinking about others
● There was a sense from the discussion that solidarity was a contentious term in the light of current situations (Covid-19 pandemic and the Black Lives Matter movement) and some agreement around an ever-greater need for solidarity within the Arts in the face of inevitable cuts to the sector post-pandemic.
● A point raised about solidarity being desirable but not necessarily easy to find, and that it can be quite fragmented and temporary as a concept - especially if you are in a solitary or isolated situation.
● Points raised about the over-use of the term - there are so many statements of solidarity at this present moment for example for Black Lives Matter from people (and organisations) who would never have uttered the words before. The experience of hearing / witnessing this feels quite painful for people who have been involved for many years in Black, Brown, and Queer activist circles, where people have been talking about allyship
● An idea of an optical solidarity - and maybe it being co-opted / used by people / organisation responding to specific events – such as Black Lives Matter – where a real sense of solidarity has been historically absent from their actions and values in the past. Optical solidarity is a violent action in itself because it’s not backed up with intent. Solidarity might be a cheap way out if you just express sympathy without addressing an issue.
● A sense that you can’t have solidarity without representation – and many unions are not representative – or don’t feel representative to the BAME community. The lack of representation, and the easy co-opting of the sentiment in relation to specific contemporary issues, dilutes its meaning.
● For artists of colour, in many areas of the country, it is very difficult to find representative groups, where you can foster a sense of solidarity. And also a lack of spaces or opportunity to be open with other artists of colour to express what it feels like from this lived experience (because some of that is intense pain).
● Solidarity as a concept is empty – it needs to be associated with actions, rather than slogans. A point was raised about solidarity meaning coalition – and for artists to find other like minds to ‘feed off’ and the key being communication. And then for artists to place themselves in a wider working context – so that things that ‘workers’ have in common across disciplines, can get done together – in coalition. So solidarity = communal support of actions that benefit the whole rather than the individual.
● Solidarity as a community of care or a gesture of care - care is not one size fits all, the need to ask people directly what kind of care they need / want / would benefit from.
How can we hold ‘empty’ or ‘convenient’ ‘optical’ solidarity to account? The recent examples of local councils lighting up civic buildings to register its solidarity with the Black Lives Matter movement – yet simultaneously having enacted policies that are at odds with it.
Looking to groups who are setting an example, like 'Sister's Uncut' and how they have serious principles around who was put forward, who is able to speak, and thinking more deeply around positions of power.
----------------
The solidarity issue moved the group onto talking about Artist working conditions – from the idea that maybe there is little solidarity inherent in the notion of ‘freelance’ (ie self employed individuals, who take contracts or “not-even-contracts” from numerous employers, multiple conditions & zero hours contracts)
● Trade Unions’ activities have started to understand the nature of precariousness – the example of the Ritzy cinema in Brixton was raised where the workers at the Ritzy Picturehouse in London have been campaigning for a living wage since 2014, following the company’s acquisition by cinema giant Cineworld in 2012. Since then, they have inspired cinema workers at the Curzon chain to mount a similar campaign, as well as the Rio Cinema, an independent cinema in Dalston, London.
● UVW-DCW’s point was raised about how arts institutions are not just about the artist, but rely on a host of precarious low waged workers – cleaners, porters, restaurant staff.
There might be some solidarity here between artists and other workers – sharing the precarious working conditions – but an idea was raised about how artists are often considered separate, special or outsiders.
● Point was raised about equivalence of labour – can artists and their work be compared to the cleaner or the security guard or porter? Is that helpful, or even acceptable? Is there an inherent privilege in being an artist an in the work done.
● A point was raised that for many artists – particularly early career artists – often this sort of work is done alongside the artists work – as a 2nd or 3rd job. Thinking about how these positions interweave - because artists will be doing some commissions as artists, and at other times they will be working as cleaners or making coffee.
● Some discussion of ‘imposter syndrome’ - with many participants indicating that this is something they feel. Others outright reject this idea - “Why don’t I consider myself an imposter? I am not imposing this on anyone” & [having been told by a very famous British artist that ‘there weren’t any Black artists’] “Of course there are moments of feeling the imposter but I have been 25 years+ in this position and I am totally and utterly claiming this. And that would be if I had any profile or not.”
----------------
CLOSING THOUGHTS
Highlighting the function of unionisation in this structure that can mobilise groups and hold people to account and have a legal identity that separates them as workers - linking individuals to wider movements, structures and action for change.
A quote from John Cage -
You say: the real, the world as it is. But it is not, it becomes! It moves, it changes! It doesn’t wait for us to change … It is more mobile than you can imagine. You are getting closer to this reality when you say it ‘presents itself ’; that means that it is not there, existing as an object. The world, the real is not an object. It is a process.
(from Cage, J. (1981) For the Birds: John Cage in Conversation with Daniel Charles, p80).
When we apply this to ‘the art world’, we realise it is not a fixed structure - it is more mobile than that & there to be shaped by us. Participants are encouraged to be part of making or gathering communities of care - for ourselves and our own sustainability and mental health, and for shaping our worlds as we want them to be.
Making Change through Unionisation
facilitated by KATRIONA BEALES
June 8th, 2pm - 3.30pm
In response to the 5 video case study presentations, we are holding a series of group discussions to explore the themes of the presentations in more detail. Making Change through Unionisation was a discussion facilitated by Katriona Beales, one of the founders of Artist Union England.
REPORT DOWNLOAD (pdf)
OUTSET
The aims and intended areas to cover were:
– Why do artists and other practitioners need Trade Unions?
– Solidarity and role in an age of competitive individualism and how to create cultures of solidarity
– Trade Union history is very white and male - how can more marginalised communities feel at home within the trade union movement? Particularly taking into account Black Lives Matter...
– Solidarity and role in an age of competitive individualism and how to create cultures of solidarity
– Trade Union history is very white and male - how can more marginalised communities feel at home within the trade union movement? Particularly taking into account Black Lives Matter...
THOUGHTS EMANATING
Is there a difference for artists between being a member of a trade union, and being part of artists’ organisations such as a-n or axis?
● A major difference is the ability of / possibility for a union to hold employers to account.
○ For the individual artist, there is a sense of strength in negotiating positions around fees and terms of employment, to be able to point to ‘your’ trade union’s official principles.
● Trade Unions have greater campaigning ability
● Trade Unions hold an independent position - they are funded through their membership, and cannot receive funding from employers or potential employers
○ Artists’ Union England, for example, is not allowed to receive Arts Council England funding – this offers a sense of independence – and for example, recently allowed the chance to challenge the appointment of Elisabeth Murdoch to the National Council of ACE by Nicholas Serota.
● Individual Trade Unions are part of a wider national & international Trade Union movement
○ For example, Artists’ Union England has gained great support from the wider Trade Union movement and the TUC - after an initial struggle to be recognised and taken seriously in the 1970’s (when the first attempt by artists to formally unionise was made).
○ This offers a chance for advice and support from new colleagues, across discipline areas (eg speaking to Musicians Union for advice) & national boundaries (eg help from the Scottish Artists Union while getting established). AUE are then passing this on to help a group in Northern Ireland & would like to extend this support to artists looking to unionise in Wales.
A significant issue facing artists when looking at unionising is around financing and a critical mass of members. Trade Unions are barred from accessing public funding, and so need to raise their own funds – often through membership subscriptions – and this leads to a “chicken and egg” situation – members are attracted by strength of organisation, but a union can’t strengthen without the ability to attract members.
------
Solidarity is a word that gets bandied around a lot but it would be helpful to understand what that is and how it functions. Anyone up for defining solidarity?
The group had a go at defining this much used term –
● A sense of advocating for each other and the sector
● Not putting yourself first. Thinking about others
● There was a sense from the discussion that solidarity was a contentious term in the light of current situations (Covid-19 pandemic and the Black Lives Matter movement) and some agreement around an ever-greater need for solidarity within the Arts in the face of inevitable cuts to the sector post-pandemic.
● A point raised about solidarity being desirable but not necessarily easy to find, and that it can be quite fragmented and temporary as a concept - especially if you are in a solitary or isolated situation.
● Points raised about the over-use of the term - there are so many statements of solidarity at this present moment for example for Black Lives Matter from people (and organisations) who would never have uttered the words before. The experience of hearing / witnessing this feels quite painful for people who have been involved for many years in Black, Brown, and Queer activist circles, where people have been talking about allyship
● An idea of an optical solidarity - and maybe it being co-opted / used by people / organisation responding to specific events – such as Black Lives Matter – where a real sense of solidarity has been historically absent from their actions and values in the past. Optical solidarity is a violent action in itself because it’s not backed up with intent. Solidarity might be a cheap way out if you just express sympathy without addressing an issue.
● A sense that you can’t have solidarity without representation – and many unions are not representative – or don’t feel representative to the BAME community. The lack of representation, and the easy co-opting of the sentiment in relation to specific contemporary issues, dilutes its meaning.
● For artists of colour, in many areas of the country, it is very difficult to find representative groups, where you can foster a sense of solidarity. And also a lack of spaces or opportunity to be open with other artists of colour to express what it feels like from this lived experience (because some of that is intense pain).
● Solidarity as a concept is empty – it needs to be associated with actions, rather than slogans. A point was raised about solidarity meaning coalition – and for artists to find other like minds to ‘feed off’ and the key being communication. And then for artists to place themselves in a wider working context – so that things that ‘workers’ have in common across disciplines, can get done together – in coalition. So solidarity = communal support of actions that benefit the whole rather than the individual.
● Solidarity as a community of care or a gesture of care - care is not one size fits all, the need to ask people directly what kind of care they need / want / would benefit from.
How can we hold ‘empty’ or ‘convenient’ ‘optical’ solidarity to account? The recent examples of local councils lighting up civic buildings to register its solidarity with the Black Lives Matter movement – yet simultaneously having enacted policies that are at odds with it.
Looking to groups who are setting an example, like 'Sister's Uncut' and how they have serious principles around who was put forward, who is able to speak, and thinking more deeply around positions of power.
----------------
The solidarity issue moved the group onto talking about Artist working conditions – from the idea that maybe there is little solidarity inherent in the notion of ‘freelance’ (ie self employed individuals, who take contracts or “not-even-contracts” from numerous employers, multiple conditions & zero hours contracts)
● Trade Unions’ activities have started to understand the nature of precariousness – the example of the Ritzy cinema in Brixton was raised where the workers at the Ritzy Picturehouse in London have been campaigning for a living wage since 2014, following the company’s acquisition by cinema giant Cineworld in 2012. Since then, they have inspired cinema workers at the Curzon chain to mount a similar campaign, as well as the Rio Cinema, an independent cinema in Dalston, London.
● UVW-DCW’s point was raised about how arts institutions are not just about the artist, but rely on a host of precarious low waged workers – cleaners, porters, restaurant staff.
There might be some solidarity here between artists and other workers – sharing the precarious working conditions – but an idea was raised about how artists are often considered separate, special or outsiders.
● Point was raised about equivalence of labour – can artists and their work be compared to the cleaner or the security guard or porter? Is that helpful, or even acceptable? Is there an inherent privilege in being an artist an in the work done.
● A point was raised that for many artists – particularly early career artists – often this sort of work is done alongside the artists work – as a 2nd or 3rd job. Thinking about how these positions interweave - because artists will be doing some commissions as artists, and at other times they will be working as cleaners or making coffee.
● Some discussion of ‘imposter syndrome’ - with many participants indicating that this is something they feel. Others outright reject this idea - “Why don’t I consider myself an imposter? I am not imposing this on anyone” & [having been told by a very famous British artist that ‘there weren’t any Black artists’] “Of course there are moments of feeling the imposter but I have been 25 years+ in this position and I am totally and utterly claiming this. And that would be if I had any profile or not.”
----------------
CLOSING THOUGHTS
Highlighting the function of unionisation in this structure that can mobilise groups and hold people to account and have a legal identity that separates them as workers - linking individuals to wider movements, structures and action for change.
A quote from John Cage -
You say: the real, the world as it is. But it is not, it becomes! It moves, it changes! It doesn’t wait for us to change … It is more mobile than you can imagine. You are getting closer to this reality when you say it ‘presents itself ’; that means that it is not there, existing as an object. The world, the real is not an object. It is a process.
(from Cage, J. (1981) For the Birds: John Cage in Conversation with Daniel Charles, p80).
When we apply this to ‘the art world’, we realise it is not a fixed structure - it is more mobile than that & there to be shaped by us. Participants are encouraged to be part of making or gathering communities of care - for ourselves and our own sustainability and mental health, and for shaping our worlds as we want them to be.
