You may be reading this because you read my election statement and want to know what this really means. Council candidates get only 150 words in which to make a statement, and that doesn’t seem enough to explain my position on many issues, identify the issues that aren’t on the agenda, or document the work I’ve done for performers – individually and collectively – over the years.
So we have this blog. This article specifically addresses and explains what those tightly-compressed 150 words represent. But read the other blog items, and you’ll see many of these areas explored in greater detail.
So, here we go...
1. The Opening Salvo and Philosophical Position
“Performers are increasingly empowered to create and promote their own work”
Just a single area of work, among many, but a growing one, and one that provides a useful focus. It raises a lot of issues, such as employment/self-employment, the employer/employee relationship (and whether this is always clear-cut) , the role of performers as creative artists, and the apparently increasing sense of empowerment amongst many performers. That is, rather than passively waiting for ‘the employers’ to phone them up, they’re getting active and getting their acts together to make themselves more visible. Which in turn raises the issue of performers’ marketing themselves (or their work) and thinking in terms of the longer-term ‘career’ game, rather than simply the ‘job. I’m quite clear that I would like to see performers feel much more able to develop a grown-up business relationship with those who want their work, and can have an intelligent conversation about terms of working, money etc. There’s a philosophical question of whether this sort of individual empowerment might conflict with the traditional union aims of collective empowerment, but I believe both approaches are necessary. There are small-scale, and rapidly-changing areas where Equity would be hard-pressed (whether by resourcing or sheer size and slowness) to engage with the whole territory, and this is where it’s useful that performers feel able to stand up for themselves.
“as traditional productions diminish and new spaces and media offer greater access. “
This isn’t the death of theatre and film production as we know it. But innovation in these sectors is increasingly coming from small players. Digital media mean that it’s far easier and cheaper than before to make a film and get it distributed. This rarely fits with traditional business models, and money made on the Web often involves a complex process, but which is very often about marketing and increasing visibility, than direct charging. And this also has an impact on theatre: a bunch of performers can form a company, find a space and shamelessly plug the venture through Facebook or Myspace and have access to the same sort of promotional muscle that was previously available only to big producers.
“This is not new: variety artists have long created their own work, and we need to nurture and harness this experience.”
The more I talked about this idea with people, the more I realised that the idea of performers creating and promoting their work seemed similar to the business model of variety artists than traditionally employed actors. I have a huge respect for variety artists and, though I don’t have an intricate knowledge of that area of work, it does strike me that there are similar patterns. And with the emergence of comedy, magic and burlesque, we seem to be seeing a resurgence of variety work, even if it’s not taking place in the traditional venues. So, we’ve got the knowledge and experience, but maybe need to be more joined-up in our thinking to exploit the expertise that’s there but risks being lost between traditional categories of work.
“Big organisations and slow processes are losing out to agile newcomers”
Equity has traditionally worked on the basis that big organisations talk to big organisations. So, we’ll talk with the TMA and ITC, PACT and the BBC, but ‘house’ agreements are the exception, and often a transitional step to bring those employers into the mainstream agreements. But theatres are closing and the British film industry is...where? I don’t believe that audiences have totally lost interest, but are often finding their entertainment in new and non-institutionalised forms. This needs acknowledging and discussing. I don’t believe it’s feasible to try chasing after all these, which could be fleeting ventures, but we can help our members feel empowered and equipped to navigate this territory.
“– performers included –”
As already mentioned, a performer who wants to advance their career can create their own vehicle, to get their work out there and seen. The rewards may be financial, or they may be more subtle, such as visibility or creative reputation.
“and Equity must consider how to recognise and respond to this changing climate and members’ working reality if it is to remain relevant in the industry and serve members’ needs in ways that allow them to flourish.”
Really a couple of points packed in here. One is to recognise the industry as it is now; the other is to speak in terms that resonate with members. But they come together in that individual members are in closer touch with what’s happening ‘out there’, so if you serve one you serve the other. And I use the term ‘working reality’ because it’s not just about jobs in the industry: it’s about the fact that many members are not passive ‘between jobs’, but working hard either to earn an income or develop their careers (or indeed having to find time for both). To talk exclusively as ‘work’ as involving properly Equity-contracted jobs runs the risk of alienating many members.
This isn’t a ‘what do we do?’ question. It’s not necessarily about ‘hard’ action, but the more subtle area of information, interaction and communication: what does Equity think its members are up to, how they feel about it, and how do they respond to that? This is to say that a lot of performers get frustrated with an industry where there’s precious little work. Our focus has traditionally being on what action is needed on an issue, when that’s not always what’s needed. Sometimes it’s simply enough that we show ourselves to have heard and acknowledged performers’ issues.
2. The Credentials
“Independent”
Standing without the backing, or agenda, of any existing campaigning group. What concerns me are various issues that have barely got on the discussion table, so it’s far too early to be able to even have a ‘party position’ on these.
“Articulate and tenacious”
Quite subjective, of course, as is anyone who says they represent you, or represents members. I do believe that clarity of expression reflects clarity of thought, and that single-line slogans can be a dangerous over-simplification, so this blog aims to explore many of these issues in more detail. And, as an actor, if I don’t have an understanding and command of language, I’m in big trouble. Tenacious: subjective again. There are people in Equity who’ve been campaigning on the same topic for very many years. But more to the point, it means I’ve had enough experience with the practicalities of Equity’s democratic processes to know that the quick flash of a great idea needs long, slow, hard work to make it a reality.
“Working as an actor”
Yes, I work. A respectable amount, but not quite as much as I’d like. But I think this puts me in touch with the situation of very many members. In chairing my branch I’ve been adamant that members’ work has to come first, even if it means missing meetings or not being able to help out. It’s vital for credibility that those involved in Equity are seen to be actively involved in the industry as it is today.
“and creator of diverse mixed-media projects.”
Also making my own work, whether in film, sound or live art, alongside a wide range of practitioners. This means I have to hop between different disciplines of performing, design (visual, tactile or sonic), technical and promotional. But this also means I can (indeed have to) talk with other specialists in an intelligent peer-to-peer fashion.
“Ten years in Equity after ten years in corporate management and digital media.”
A drop in the ocean by the experience of many performers, but certainly enough to have a mature understanding of Equity and the industry more generally. And yes, I’ve worked in corporate environments where I have to take responsibility for other people, what gets done, how to do it, and how to solve problems and overcome obstacles that get in the way. And I first used the Web in the early 1990s, was involved in early web design, and helping others get used to new media.
“Currently Chair (and formerly Treasurer), W&SW London Branch.”
Matters of record. Members of my branch can comment better on this. All I can say is that I’m acutely aware of the responsibilities that come with being chair, to be impartial and ensure everyone in the branch gets an equal hearing. More generally, that this is a job or role, which has to be taken seriously while I’m doing it. It’s a different responsibility from that I have working as an actor, or in my personal life. And it’s different again to that which I’d expect to take on while sitting on Equity Council.
“Proposed using email for Equity branch communication in 2003: achieved in 2009...”
This was put in front of Equity Council in 2003, asking that branches be able to email all their members, cutting thousands off the cost of a newsletter mailout. While it’s always been feasible to collect email addresses ad hoc from people who turn up at meetings, that’s only 5% of the membership, and I’ve always felt it’s important to engage those who can’t come to meetings. Credit is also due to the East Midlands Variety Branch for getting this passed at the 2009 ARC, which has now led to measures being put in place to ensure that practical skills and data protection compliance are in place to make this happen.
“Make your vote count.”
Seriously, 9% of members voted in the last Council Election. Just vote: I’d prefer it’s for me, but if you don’t vote, we’ll be in a position where Equity is governed by people – whoever they are – who don’t have the backing of most members. Who do you want to speak for you?
“equity.gwyndaf.com”
This should be self-explanatory if you’ve found this blog.
I’m personally very aware of the merits of the internet for effective and efficient communication and engagement. Simply by using it in an up-to-date and sophisticated (rather than complicated) fashion demonstrates that Equity is in touch with how people are increasingly working. However, with my ‘branch chair’ hat on, I have had to recognise that we can’t disenfranchise members by relying totally on the medium. This industry has been slower than most in seeing the potential, but we’re getting there slowly. There’s huge potential, but we need to maintain inclusivity.
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