Tag Archives: AFM

DC Opera Musicians Ratify Contract

November 1, 2017 IM

Musicians of the Washington National Opera (WNO) and Kennedy Center Opera House orchestras, members of Local 161-710 (Washington, DC), have ratified one-year contracts with the two organizations. The agreements will run through August 31, 2018. Initially working toward longer-term contracts, it became clear that one-year agreements would yield more progressive outcomes.

WNO initially proposed a three-year agreement with a 10% reduction in work and no wage increases, while the Kennedy Center initially offered a three-year agreement with a work reduction of one week (14%) in the second and third years. Musicians’ salaries under the combined contracts will be just above $70,000 for the 2017-2018 season—a small increase. The orchestras’ librarians are now covered as bargaining unit members under the two CBAs. The Kennedy Center Opera House season is seven weeks long, while the WNO contract totals 342 hours, within a 21-week period.

“We hope that the additional year will give the opera some breathing room, so that the opera season cuts we conceded in previous agreements will turn out to be only temporary,” says Orchestra Committee Chair Peter de Boor of Local 161-710.

International Musician, Robert Baird, Traveling Musician

A Guide to Easy Border Crossing

November 1, 2017 Robert Baird

Touring requires preparation and organization. One element of touring that demands much of both is border crossing. Crossing a border to work in a foreign country can be nerve-wracking and difficult, if you are not prepared. With thorough preparation you can ensure easy border crossings while on tour.

The first consideration should be work permits. Every foreign artist who performs in the US is required to have a temporary work visa. I highly recommend the P-2 Visa, which can be processed through the Canadian Federation of Musicians (http://www.cfmusicians.org/services/work-
permits). When making your initial entry into the US, you will need to carry the USCIS approval notice (or a copy). If band members are entering the country separately, everyone should have their own copy.

Make sure that all of your travel documents are in order. All passports must be valid at least six months beyond the last performance date. If you do not hold a Canadian or US passport, you will also be required to obtain an Electronic Travel Authorization (eTA) (www.cic.gc.ca/english/visit/eta.asp), to fly into Canada. Other countries require all foreign passports to be valid for a certain number of months from the date of entry or planned exit. Look into the requirements for each country you intend to visit.

If crossing by land, you may need to show vehicle ownership; if travelling by air, you will need to show a return ticket. You may be asked to show proof of accommodation and/or proof that you can support yourself while in a foreign country. If you are a parent travelling with a child, you will need written travel permission from any other guardian or parent.

Also, before traveling, look into any possible issues of criminality. Any prior conviction, however minor, can cause problems at the border and should be dealt with well in advance with either a waiver of ineligibility or a criminal rehabilitation application.

You must also plan for transporting equipment and merchandise. Understand the border restrictions in relation to prohibited goods or substances. If you are travelling with instruments and other gear, consider applying for an ATA Carnet, a document that can minimize hassles and fees at the border (www.chamber.ca/carnet). In the absence of an ATA Carnet, have a complete inventory with you. Whenever possible, include descriptions, serial numbers, purchase dates, and values. Having your gear organized in numbered cases will make it much easier when border officials need to check the gear.

Be aware of restrictions on crossing a border with instruments containing endangered species. There’s no point in risking confiscation of your gear. Check out the Musical Instrument Passport program (www.fws.gov/international/permits/by-activity/musical-instruments.html).

If you are flying, make sure you know the airline’s rules and regulations for transporting instruments. Invest in high-quality cases to protect them from damage.

If you are carrying merchandise, be sure to declare it and make sure it is properly labelled or properly stickered (for promotional copies). Have the invoice of manufacture with you. Keep in mind the option of sending merchandise via courier or mail, or having it manufactured in the country to which you are touring. For large quantities of merchandise, use a customs broker.

Finally, consider your strategy for interacting with border crossing officials. Appearances are important. You need to look and sound like you are a law-abiding citizen, respectful of authority, who poses absolutely no risk. Turn off the radio or iPad, remove ear buds and sunglasses. If crossing by land, your vehicle should reflect this as well—neat and clean. Rehearse straightforward answers to typical questions you might be asked by officials. Coach everyone in your group to be honest and forthright, and to answer questions succinctly without volunteering additional information.

With sufficient knowledge and preparation, border crossing can be simple.

Robert Baird is President of Baird Artists Management Consulting and an expert in international touring. Involved in the performing arts for more than 50 years, he was president of NAPAMA, and Treasurer of FEO. He is currently president of OAPN and APAP Showcase Coordinator. Contact him at robert@bairdartists.com.

International Musician, Traveling Musician

2017 Touring Show Update

November 1, 2017 IM

During a performance of Elvis Live in Concert, AFM Touring/Theatre/Booking Division Director George Fiddler (left) had the opportunity to meet with Greg Luscombe who assembled the symphony orchestra used in the show.

The traveling show season has begun and most of the new productions have premiered or are about to start their season. I visited Les Misérables in Hartford last month as it began a new tour. There are numerous seasoned road musicians in the orchestra, as well as musicians new to touring. This show has an orchestration for 15 touring musicians, nearly all of them on orchestral instruments. The conductor, Brian Eads of Local 257 (Nashville, TN), has done an amazing job of having everyone play at the highest ensemble level possible. The production quality was first-rate.The show’s stellar cast was accompanied flawlessly by the orchestra, creating a magical performance. The fortunate audiences have certainly received a production worthy of the Broadway experience.

This season there are many shows that have sizable touring complements, as well as large local musician employment. The new Disney blockbuster for the road this year is Aladdin, which has an orchestration of 16, with a minimum local hiring of eight musicians in every city it visits. The King and I continues this season with 13 local musicians hired in all cities.

Another new production with a large musician complement is Love Never Dies, the sequel to Phantom of the Opera. This show travels 15 musicians, with local hiring in select venues.

There are a variety of unusual productions that are not traditional in orchestration or content that will be travelling under our agreements.

As the new director of the AFM Touring/Theatre/Booking Division, I look forward to overseeing a large and varied season of traveling musicals that is sure to provide a genuine Broadway experience to audiences across the US and Canada.

International Musician, Traveling Musician

Elvis Live In Concert Celebrates the Career of Elvis with a Live Symphony Orchestra

November 1, 2017 IM

August 16 was the 40th anniversary of the death of Elvis Presley. To commemorate this event, Graceland/Elvis Presley Enterprises sponsored Elvis Live in Concert, a tour of Elvis performing with a live 46-member studio orchestra. The show stripped the background music from videos and films in which Elvis appeared and replaced it with live orchestrations. Requiring precision timing, the music was synchronized to recorded videos of Elvis performances projected on a large screen above the orchestra. The effect was striking and awe-inspiring. It felt like Elvis was actually performing live onstage.

British conductor and arranger Robin Smith debuted Elvis Live in Concert in the United Kingdom in the fall 2016 and it toured throughout Europe and Australia. The show proved so successful that Graceland/Elvis Presley Enterprises wanted to duplicate the event here in the US. The plan was to tour throughout August in large arena-style venues, honoring Elvis’s memory with concerts featuring a live orchestra. Many audience members had never seen the real Elvis in concert. The tour came “home” to Memphis, Tennessee, August 16 for a special show honoring Elvis’s passing.

Graceland turned to Memphis Symphony Orchestra musician Greg Luscombe of Locals 71 (Memphis, TN) and 10-208 (Chicago, IL) to assemble the highly skilled professional musicians required to make the music come to life. Most of the musicians were members of the Memphis Symphony, but some were selected because of expertise in performing Elvis’s music.

“It was especially amazing working with some of the most talented musicians from Memphis,” says Andre Acevedo of Locals 777 (Biloxi, MS) and 301 (Pekin, IL), who played sax for the show. “The rhythm section and the drums were particularly impressive. Because the music came from live Elvis performances, the drum set had to follow along with click that didn’t have a consistent tempo. James Sexton did it well and made the music feel smooth and groove. Jim Spake [of Local 71] on the solo tenor saxophone, played the opening ‘If I Can Dream’ with such a classic tenor saxophone sound. It was perfect for this genre, which makes sense as he is something of a Memphis legend. Finally, I loved the string section as a whole. The string arrangements were gorgeous and helped glorify Elvis’s voice.”

Commemorating the 40th Anniversary of the death of Elvis Presley, Graceland/Elvis Presley Enterprises sponsored Elvis Live in Concert, a tour of Elvis performing with a live 46-member studio orchestra.

The results were remarkable. The musicians didn’t just precisely perform the written scores, they were genuinely passionate about their performances. The enthusiasm of the musicians was clearly transmitted to the loyal Elvis fans attending the joyful events.

“The show was beautiful and the audience reaction was something I will always remember,” says Acevedo. “The audience reacted as if Elvis was really there! I watched couples cry and dance together, and I watched older women scream like they were 16 years old again. Each show ended with thunderous applause, showing so much appreciation for Elvis and our ensemble backing him up.”

The AFM Touring/Theatre/Booking Division (TTBD) assisted Luscombe in achieving a union agreement that offered the musicians competitive wages and benefits, plus carefully planned travel conditions. The tour moved from Connecticut to Florida, stopping at more than a dozen venues along the way. “As contractor, my first job was to establish appropriate pay, per diem, travel, and accommodations that fit the budget of Graceland/Elvis Presley Enterprises, while doing the right thing for the musicians,” says Luscombe. “I found it extremely helpful that all of the basic items you need in a touring contract are well established by the AFM TTBD, based on years of experience and negotiations. The fact that the AFM agreement was good for the musicians as well as for Graceland (c/o Elvis Presley Enterprises) contributed to the overall good morale among the musicians and everyone that was involved with the tour.”

Negotiating for a short-running tour isn’t always easy. Aside from proper compensation for the musicians involved, the contract must also take into account their travel concerns. The sizes and economics of the large venues where the show played meant the musicians were provided wage scales commensurate with top dollar pop acts.

The Elvis Live In Concert show orchestra featured many musicians from Local 71 (Memphis, TN).

“Of course, the long bus rides and other inconveniences of touring are not always fun, but when musicians feel they have a fair deal, plus good accommodations and meals waiting for them, it can translate into highly energized performances,” adds Luscombe. “It was obvious that the audience sensed the good vibe from the musicians throughout the tour.”

“Because the tour was on a union contract, we could count on the production adhering to a set daily schedule. That meant a lot to us since we were working on such a tightly booked tour. Receiving a reasonable salary with payments for pension, doubling, and overtime made all the difference. In a ‘right to work’ state environment it can be tough to negotiate these issues on a contract,” says woodwind player Gary Topper of Local 71 (Memphis,TN).

The overwhelming success of this tour reaffirmed the concept that working closely with an employer to realize a fair agreement for both parties leads to highly professional results that both the employer and musicians can be proud of.

The sizes and economics of the large venues where Elvis Live In Concert played meant the AFM musicians were provided wage scales commensurate with top dollar pop acts.

“All in all, this tour was so much fun and I had a wonderful time playing beautiful music,” says Acevedo. “I am very glad that Greg Luscombe worked things out to make it an AFM tour. I would hope the demand for this show continues as I would really love to do it all again!”

Vice President

Finding Renewed Purpose Following a Summer of Change

November 1, 2017 Bruce Fife

The last six months have been a very busy time for me. In addition to the work of running a mid-sized local and my duties as AFM International Vice President, the AFM initiated its new Officer Training program that I worked with others to create. Training has taken place in King of Prussia, Pennsylvania; Madison, Wisconsin; Orlando, Florida; Chicago, Illinois; and Hamilton, Ontario, Canada. In addition to those training sessions, I also attended the Regional Orchestra Players Association (ROPA) and International Conference of Symphony and Opera Musicians (ICSOM) conferences. Through all of this work, there developed a theme that I felt was worth sharing. This has been an important time for revitalization and regeneration at multiple levels of the AFM. Let me explain.

Starting with the Officer Training program, it has been years since the AFM had such a program in place. The work that local officers do is complicated, time intensive, and never ending. Combined with the fact that there are not many “kudos” and pay is not what it should be, you have a recipe for burnout. That said, those who take on these local leadership positions, do so for the good of all. It’s truly a calling for the best of those officers and their commitment cannot be underappreciated.

As we’ve gone through each of our training sessions, the feedback has been almost universally positive. It’s not just what officers learn from staff and trainers, but what they learn from each other, as well. As they grow their relationships, they have new allies to contact when there are problems to discuss or for cross collaboration between locals. For those officers who have been in place for a while, there is a sense of regeneration and rededication to their duties. For those who are new to their positions, they now know where to turn for answers and support. It’s exciting to feel the energy and see the interaction and relationships that build during these two or three-day sessions.

Moving to ROPA and ICSOM, both of those conferences have new leadership at the top and this was their first round of conferences. You could sense a slightly different dynamic and energy in each of those conferences. It’s not that the previous leadership wasn’t great, it’s just that, as someone new steps into that role, they bring fresh ideas and enthusiasm that refocuses the direction and creates a revitalized organization, ready and energized to face challenges head on.

Lastly, Local 99 (Portland, OR), my local, has gone through a transition. Dennis Lynch, secretary-treasurer of Local 99 and a pillar of the AFM, has retired. He joined the AFM in the mid ’70s, and first became the secretary-treasurer of Local 689 (Eugene, OR) in November 1978. Then, the AFM hired him as the AFM Western Region International Representative (according to Dennis, on April Fool’s Day 1984). He served in that position for 20 years, until 2004. In 2008 he became secretary-treasurer of Local 99. We thank Dennis for the incredible contributions and his years of service to the AFM and wish him the best in this new phase of his life.

Filling those large shoes at Local 99 is newly elected Secretary-Treasurer Mont Chris Hubbard. To continue the theme, you can feel the resurgence of energy at the local. He is doing all the things that a new leader must do. While he is learning the ropes, understanding the work and the depth of what must get done, he is also challenging the status quo. He is making us look at the way we work with a new set of eyes and experiences. We will all learn from the transition taking place. I believe we will end up with a stronger, revitalized, and more efficient and effective local.

What this summer of change brought into clear relief for me is the importance and value of a fresh set of eyes, or a new backdrop for the work we do. I’m not just talking about local officers and the AFM. I’m talking about all of us. Maybe it’s time to take a hard look at your career and where you’re at. Are you in a rut? Does it seem like new ideas for moving forward have stalled? Do you have writer’s block? We all need to change our perspective, whether it be through classes or training, a change in routines, time away from work (vacation), or even looking at some of our multiple work commitments and deciding whether they are moving us forward or holding us back. The process of “challenging” our status quo can lead to renewed energy, commitment, and a revitalized focus on our work.

Maybe it’s easiest to think of this as a reboot. It just might be time to take a good look at ourselves, our bands, the work we do, and make this our season of change.

International Musician, Traveling Musician

Musicians Return to the Bandstand, The Circus Is Back in Town

November 1, 2017 IM

On October 27, the Big Apple Circus made its return to Lincoln Center, just in time to celebrate its 40th anniversary. Created by former European street performers Paul Binder and Michael Christensen, Big Apple Circus debuted in New York City’s Battery Park in 1977, relocating to Lincoln Center in 1981. Over the years, it became a New York City holiday season staple. However, unable to recover from the 2008 recession, the nonprofit, one-ring circus filed for bankruptcy in 2016.

Last February, Big Top Works purchased Big Apple Circus and set to work restoring the beloved show and returning its performers to work.

Local 802 (New York City) Business Representative Marisa Friedman is in charge of the AFM contract covering the Big Apple Circus musicians. “Our main concern was that the circus would continue to use live music and that the musicians who worked for the old circus would continue to work for this new one,” she says. “Negotiations went very well. It was clear that the circus valued live music and wanted to make a fair deal with Local 802.” In the end, the union negotiated an improved three-year agreement for the musicians.

According to Big Apple Circus Conductor Rob Slowik of Local 802 (New York City), the show’s band has eight permanent musicians. “Everybody who is on the new primary hiring list has played with the circus before, but a few of the former musicians moved out of state and are doing gigs in other parts of the country,” he says.

The Big Apple Circus band (L to R) back row: Wages Argott, Jacob Levitin, Jeff Barone, Brian Killeen, Patrick Firth, and Michael Bellusci; middle row Neil Johnson and Jim Lutz; in front, Conductor Rob Slowik.

“We essentially just made modifications to the old agreement. We expanded the scope of the recognition agreement to cover more work, added health and safety protections, and also included payment for promotional use of recorded material,” explains Friedman. “The musicians will receive increases in wages and health benefits—something they have not had in several years due to the circus’s financial problems.”

Among new band members is Local 802 and 256-733 (Birmingham, AL) member Wages Argott, a trumpet player who was the bandleader for the Ringling Blue show that closed earlier this year. Slowik brought him on as associate conductor. “It’s nice that I have a sub who has already conducted thousands of circuses,” says Slowik, also a trumpet player. A couple other former Ringling musicians are on the sub list for this year.

“Each year brings a new Big Apple Circus show, with a new cast and new music, but the same band,” explains Slowik. “We change the instrumentation depending on the show theme, but we always use our hiring list. Once a musician plays with us and is on the contract, they have the right to first refusal, if we use their instrument again.”

The musicians of the Big Apple Circus band have returned to their bandstand with an improved three-year AFM contract negotiated by Local 802 (New York City).

The circus’s 2017 theme focuses on its 40th anniversary. “The set looks like the skyline of New York City and the music draws from all the different contemporary musical styles represented here—pop, rock, jazz, Latin, classical,” says Slowik. “It’s not music you would normally associate with a circus.”

Among performers headlining the new show are world record holder Nik Wallenda and the Fabulous Wallendas, trapeze artist Ammed Tuniziani of the Flying Tunizianis, as well as Grandma the Clown, who has returned from retirement.

When it comes to music selection for the various acts, Slowik says that the producer makes the final decision, but there is input from the director, as well as the performing act. “We try to honor the act’s needs in terms of tempo and timing, and we like to use music that is going to inspire,” he says. “While there is often some initial resistance to new music from acts who may have used the same music for 10 or 15 years, at the end of the season, they frequently want to buy the music and take it with them.”

Use of a click track helps the band keep to a steady tempo for performances, and Slowik keeps a constant eye on the show for split second adjustments. “We have a lot of vamps built into the music but often we’ll have to create new vamps on the fly,” he says. “Something can go wrong at any point, whether it’s somebody missing a trick, wanting to repeat a trick, or something that goes wrong with the rigging or a prop.”

“I try to get the dogs to count the downbeat of the bar but they don’t listen, and neither do the horses,” laughs Slowik. “One of the nice things about having a band with a lot of circus experience is that they can almost read my mind.”

Musicians new to the circus, even veteran Broadway players, require some training. “They have to come watch the show. I give them a video of me conducting and a pdf of the book. One of the things I tell them is: ‘This vamp is four bars, but the cue could come anywhere, including in the middle of the bar.’ On Broadway, if you have a two-bar or four-bar vamp, it is almost always at the end of four bars. It can take people a while to get used to that. You really have to be aware because the cue could come out of nowhere.”

On occasion, Slowik says he has even become a part of the act. He recalls a skit he did with Grandma the Clown where he was hoisted 30-feet up in the air to play his trumpet. “It was a lot of fun!” he says, adding that he looks forward to something like that happening in the future.

The new Big Apple Circus show premiered October 27 and runs through January 7. After that, it will begin an East Coast tour with stops between Atlanta and Boston. When on tour, the Big Apple Circus travels with about 50% of its core band, hiring local AFM musicians in whatever city it visits.

International Musician, Traveling Musician

Traveling by Air? Know the Rules and Your Rights

November 1, 2017 IM

After years of negotiating and lobbying, the AFM saw the implementation of standard rules regarding musical instruments as carry-on and checked baggage. As of March 2015, musicians are allowed to bring certain musical instruments in-cabin on US carriers. Here are some airline travel tips for musicians.

Your Reservation

Tell the airline that you will be transporting a musical instrument. Air carriers are required to adequately inform passengers about limitations and restrictions to travel with instruments.

Book priority seating, requesting or purchasing early boarding.

On-board stowage rules apply to any instruments that meet FAA carry-on size requirements.

Packing Your Gear

Remove any sharp tools and all liquids that do not comply with TSA’s three-ounce regulation.

Have a proper travel case, in the event that your instrument is not allowed in the cabin.

Board early. Overhead stowage is on a first come, first served basis.

Once an instrument is stowed in-cabin it cannot be removed or replaced by other bags.

Deal Calmly with Problems

If you are stopped by a flight attendant, calmly and quickly explain the precautions you have taken to prepare your instrument to safely travel in-cabin.

Do not block the way of other boarding passengers.

If necessary, ask to deplane so that you can resolve the matter with airline supervisors. Remember, you have approximately 15 minutes before the plane backs away from the gate.

Be prepared for the possibility that you may not be able to travel with your instrument in the cabin. It is important to have a backup plan.

Bring Along Links to Helpful Resources

Keep a link to the Department of Transportation Traveling with a Musical Instrument web link (www.dot.gov/airconsumer/air-travel-musical-instruments).

The AFM has developed comprehensive manuals: A Guide to Traveling with Musical Instruments (34-page guidebook) and A Guide to Flying with Musical Instruments (eight-page pocket guide). To find these resources, log into afm.org and go to “Document Library” and open the “Legislative Office” folder.

For a more in-depth story on the AFM’s efforts to ease air travel for musicians please visit: internationalmusician.org/musical-instrument-airline-carriage-rule/

International Musician

Countering the Shrinking Pit with Education

November 1, 2017 IM

by Tony D’Amico, Theatre Musicians Association President and Member of Locals 9-535 (Boston, MA) and 198-457 (Providence,RI)

Summer is AFM conference season, and the Theatre Musicians Association kicked that season off with our 22nd annual set of meetings held in Phoenix, Arizona, July 31 and August 1. It proved to be a pair of jam-packed days featuring presentations, reports, and discussions on many subjects of interest to theatre musicians. Attendees were treated to a pension presentation, facilitated by AFM President Ray Hair and a panel of AFM-EPF trustees, lawyers, and actuaries. A representative from the Actors Fund spoke about health care, and what we might expect from proposed changes to the Affordable Care Act. Chicago TMA Chapter Director Heather Boehm offered some useful member recruitment ideas that have proved successful in her city.

I’d like to extend a huge “thank you” to Local 586 (Phoenix, AZ) President Jerry Donato, Secretary-Treasurer Doug Robinson, as well as TMA Phoenix Chapter Director Jeff Martin for their help organizing the conference and welcoming us to their city.

I am happy to report that Heather Boehm was elected by acclimation to serve as TMA’s national vice president. I look forward to working with Boehm as we continue to build upon the past successes of our organization. My thanks to outgoing Vice President Paul Castillo for all the dedicated work and invaluable assistance he gave me during my first year as president. Castillo will continue to work for TMA as the Southern California chapter director.

During my opening remarks to the conference, I spoke a bit about what I see as perhaps the major issue for theatre players across the US and Canada—the continual downsizing of pit orchestras as technology advances. One player now does the job of what once took an entire section of musicians to perform. Imagine my surprise when, during a trip to a Boston theatre a few years back to see a performance of The Book of Mormon—the epitome of a blockbuster show—I looked into the pit to discover that the percussion-heavy score required not one single piece of percussion, never mind a percussionist to play those sounds.

Of course, this is not a new issue for us. Technology has inevitably improved over the decades, and the practice of acoustic instruments being convincingly mimicked by other means has been going on for decades. While, to me, the computerized or sampled sound of an oboe played on a keyboard cannot compare to the artistry a real oboist brings to the part, in the grand scheme of the modern musical, the nuance is lost in the greater spectacle. In other words, by and large the public doesn’t notice. This is where we can make progress in our fight to keep our pits filled with professional musicians.

The key (as with most things) is education. We must continue to educate the public. They need to know that often they are not getting their money’s worth. A show that used 15 musicians on Broadway will use six on the road, but continue to charge theatregoers the same Broadway ticket prices. Only with an informed public can we ensure the continued integrity of our art form. Only the audiences can demand quality.

The public does notice. During a recent Boston run of a touring show I played, the pit consisted of one trumpet, one trombone, one violin, a bunch of keyboards, and a rock rhythm section. More than one acquaintance of mine commented to me that things sounded quite thin, with one friend even saying the violinist should have just stayed home, since she was contributing so little to the overall sound of the show. An audience would not stand for paying full ticket price for a performance of Beethoven’s 9th Symphony by the Boston Symphony Orchestra with a choir of 10 people along with some sound “enhancement,” or even worse, with the low brass parts played on a keyboard. Of course, that’s ridiculous.

I believe one of TMA’s main missions is to shed light on this subject and let the public reach the natural conclusion: a show utilizing more highly skilled musicians results in a better theatre experience.

Of course, the question is how to go about getting this message out. Some ideas that have been recently tossed around include educational leafleting in front of theatres before performances, letters to the editors responding to reviews (criticizing a show for a small pit or praising it for healthy numbers), as well as social media campaigns. I’d welcome your comments and suggestions. I can be reached at: president.tma@afm-tma.org

Orchestra News

Diversity and Inclusion: More than Buzzwords for Symphony Orchestras’ Future

October 11, 2017 IM

by Rochelle Skolnick, AFM Symphonic Services Division Director

My first year as Director of the Symphonic Services Division (SSD) has been jam-packed with satisfying work—the kind of work that engages the mind and nourishes the soul every single day. Together with the rest of the fabulous staff of SSD, I spend every day providing support to thousands of musicians who make their living performing in US and Canadian symphony orchestras and to the local unions of which those musicians are an integral part.

I’ve especially treasured the opportunities I’ve had over the past year to get out of the office and visit with musicians and others who care about them and the future of symphony orchestras. I’ve spent time in 21 cities and attended 11 different conferences, speaking or presenting in connection with all but one of those. With the AFM conference season at a pause until the start of 2018, this is a moment to reflect on those conferences and some of the trends in symphonic work and labor relations they brought to the fore.

It does not require extraordinary powers of analysis to conclude that this year’s leading symphonic thought trend has been diversity and inclusion. It was, in some form or another, a focal point of all three symphonic player conferences Regional Orchestra Players Association (ROPA), Organization of Canadian Symphony Musicians (OCSM), and International Conference of Symphony and Opera Musicians (ICSOM) and the annual League of American Orchestras (LAO) conference. Some may be tempted to write off this push as merely a sop to political correctness or a cynical attempt on the part of orchestra managers to access previously untapped funding. I think that would be a mistake.

Symphony orchestras have long struggled with “relevance”: finding ways to establish their value when they are often perceived as museums presenting musical relics to an aging and ever-diminishing elite. The industry has cycled through a number of ventures aimed at counteracting this misperception. Among other things, orchestras have changed repertoire to include more of whatever is deemed popular at the moment; taken performances to venues beyond the traditional concert hall (think simulcasts and community engagement services); and incorporated visual effects (think Jumbotron images and films projected with live accompaniment).

While these efforts have perhaps moved the needle on public perception, genuine relevance isn’t about pandering to the lowest common denominator or luring unsuspecting patrons into the concert hall through the latest marketing scheme.

For orchestras to have genuine relevance to their communities, each must bring authenticity to the task, finding ways to connect with both traditional audiences and individuals who have yet to experience the wonder of the symphony orchestra. Each of our orchestras is situated within a geographic community that has its own unique history, demographics, and needs for enrichment of the soul. A one-size-fits-all plan to connect with community will only go so far, given the unique attributes of the communities we serve. Achieving genuine relevance to a given community is much harder and more complicated work.

But this is where I take a measure of hope from the ongoing focus on diversity and inclusion. I believe the most important building blocks for orchestras to attain genuine relevance are deep knowledge of community, deep knowledge of the art form, and overflowing passion for the art that compels us to share it with anyone who will pause to listen. I also believe that the voices of orchestra musicians must be part of the conversation about establishing genuine relevance.

Orchestra musicians (and often managers and board members) certainly know our art form and (cynicism aside) we share a passion for that art. In many respects, we know our communities well. But I believe we can and must do better on that score. Part of doing so, in my mind, involves finding ways for our symphonic institutions, both onstage and off, to more closely reflect the communities they serve. If we succeed in that venture, I believe we will also place our institutions in a far better position to actually connect with their communities in ways that will nurture and sustain both community and orchestra.

In remarks I made at the opening of the LAO’s diversity forum in June, I observed that unionized workplaces are one of the few segments of our society where workers of every description are guaranteed equal pay for equal work. I also noted that closing the gender gap in symphony orchestras is directly traceable to the institution of screened auditions, which were a product of collective bargaining. But we still have much work to do.

The number of women concertmasters, like this month’s cover artist, Nurit Bar-Josef, still trails the ratio of women to men in orchestras. And the racial makeup of our orchestras looks little like our increasingly diverse society. The union movement has always been a social justice movement. We, as union musicians, can join together in support of diversity and inclusion in our symphonic workplaces. I believe that doing so is not only the right thing to do—it is integral to the vitality of our art and our symphonic institutions.

Officer Columns, Vice President from Canada

Musicians “Broke, Out West”

October 8, 2017 Alan Willaert

At the time of this writing, I have just stepped off a plane from Edmonton, Alberta, having spent the last few days organizing a demonstration/rally, juggling interviews with the press and radio reporters, and meeting with a politician of the ruling provincial New Democratic Party (NDP). At the core of it all was the ongoing effort to get an agreement with the Western Canadian Music Alliance (WCMA), the entity that operates the BreakOut West music festival (BOW).

As I have reported before, the WCMA have an operating budget of roughly $600,000, with a substantial amount of that derived from various government grants and funding, along with private sponsorship. While they have no choice but to pay the “headline” acts fairly, as they have the effect of validating the festival, the lion’s share of the musicians are not paid. Previous agreements with the festival did provide for payment, but BOW has changed their “business model” in favour of belittling musicians even further.

More than 50 musicians and supporters picketed the BreakOut West (BOW) festival’s host hotel. BOW has refused to negotiate a contract to pay musicians.

This type of social injustice is not just a problem for musicians, but for all Canadian workers, and that premise was why we approached the Alberta Federation of Labour (AFL) for their assistance. They were eager to help, as our message was a perfect fit for “$15 And Fairness,” a nationwide campaign of the Canadian Labour Congress (CLC). The AFL folks were instrumental in producing themed signs and handouts, issuing an “Action Alert” to their affiliates and media to announce the day and time of the rally, and then bringing their staff to participate.

Special thanks must be given to the Edmonton Symphony Orchestra, who sacrificed their break time to help bolster our numbers to more than 50—plenty of folks to fill the street in front of BOW’s host hotel. In addition, in a stunning show of solidarity, we were joined by international jazz great P. J. Perry and blues artist Graham Guest of Local 390 (Edmonton, AB). With chants of “Pay the band, not the man,” our group was successful in sending a strong message.

(L to R) At the BOW Rally are AFM Vice President from Canada Alan Willaert, Supervisor Electronic Media Services Canada Daniel Calabrese, Director of Organizing & Education Michael Manley, and Negotiator Todd Jelen.

I would also like to thank the AFM Director of Organizing Michael Manley, along with Negotiator Todd Jelen, and Supervisor Electronic Media Services Canada Dan Calabrese, who rounded out the AFM’s onsite personnel. In addition, a special thank you to Local 390 President E. Eddy Bayens and Secretary Edith Stacey for their assistance and outreach to members, and to Local 547 Secretary-Treasurer Doug Kuss, who took the day to travel and support our event.

Following the rally, Bayens and I met with a member of parliament to impress upon him the government’s error in not being more careful about what they were providing grants for. Since the NDP are currently in power in Alberta, one would have to believe that more serious consideration will be forthcoming, as it was pointed out that musicians were paid nothing, not even minimum wage, as required by law.

The demonstration and show of solidarity is only the beginning of this story; pressure must now be brought to bear upon all sponsors of the festival, to ensure that next year’s event is either under a CFM agreement or doesn’t happen. Members, please take note that the WCMA continues to be on the International Unfair List. No contracts should be entered into with them or their affiliates for any performances, until further notice.