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orchestra committee
Recent News

Negotiating a first Agreement for Canadian Orchestras

by Bernard LeBlanc, AFM Symphonic Services Division (SSD) Canada Director and Associate Directors Christine Little Ardagh and Steve Mosher

Note: This article addresses the topic of organizing within Canada and under Canadian provincial labour law. Some of the techniques described in this article would not be advisable when organizing an orchestra in the US under US labor law. For assistance in organizing a US symphony orchestra, please contact SSD.

Anyone who has served on an orchestra or negotiations committee knows how much work is done behind the scenes to keep things running smoothly on stage. Regularly negotiated agreements deal with the endless details inherent in organizing large-scale performances and reflect the commitment of committee members and local officers to improve and update working conditions for the musicians in their organizations.

But what if you play in an orchestra where there is no agreement in place and you think that your orchestra would benefit from a different kind of relationship with your management? This year the Canadian Federation of Musicians (CFM) Symphonic Services Division has been working closely with several orchestras, including those in Kingston, Gatineau, and St. John’s, seeking a first agreement between the CFM or the AFM local and the symphony societies. There is no one-size-fits-all template and outcomes are always contingent on the enthusiasm, competence, and commitment of a variety of people (on both sides of the table) to shepherd an idea through to completion. There are, however, standard questions and steps that can apply to most situations.

What are the first questions to ask?

Is there a set of guidelines that currently govern how the orchestra operates? Does it outline fees, working conditions, dispute resolution, guaranteed number of services to a core group, etc.? And when was it last updated?

Is there an elected orchestra committee? The orchestra committee must talk to the orchestra to find out the appetite for a negotiated agreement by asking them to vote on whether to pursue an agreement or not. The musicians should be informed that they will all be required to join the local and keep their membership up-to-date.

Do you already have a member of the orchestra invited to board meetings? Find out if the management and board are open to the idea of entering into a more formal agreement. If they are, inform both management and the board of what has been going on and get a feel of whether or not they will meet with the local to discuss first steps.

What preparation needs to be done?

Create a negotiations committee. This is separate from the orchestra committee, but should have some crossover. It should be drawn from a cross-section of the orchestra and, if possible, include section strings, winds, and brass, and principal players. The negotiations committee may be elected. The orchestra committee can post a sign-up sheet, and in that way, invite broader representation.

Create and adopt orchestra bylaws. The orchestra will benefit in the long run from having a constitution and bylaws that govern day-to-day operations of the players’ association. The bylaws should also refer to contract negotiations and the method for striking a negotiations committee. The negotiations committee should then set their own guidelines for the current round of negotiations. Make sure that your local officer has a copy of the bylaws. The local is the signatory to your agreement. If they don’t know what is in your bylaws, it will affect their ability to deal with any problems or issues that come up during or between negotiations.

Survey orchestra members. Find out what orchestra members want in an agreement and identify areas where there have been problems in the past.

List current orchestra members: The orchestra committee and local should work together on creating a complete list. Include anyone who has played a concert with the orchestra in the past three years.

What are some general suggestions for contract negotiations?

Symphonic Services has pamphlets that outline the procedure and include model language for contract negotiations. The negotiations committee must present reasonable proposals to management that the entire committee agrees on, which means that a great deal of discussion must happen in caucus prior to meeting with management. Personal agendas may be aired and given consideration, but it is always the primary duty of the negotiations committee to represent the orchestra fairly.

Templates are available from the Symphonic Services Division for the following:

• Orchestra committee bylaws

• Negotiations committee guidelines

• Orchestra surveys

• Robert’s Rules/Bourinot’s Rules/Code
Morin (in Québec)

Always follow the survey results. The orchestra has let you know how they feel about each of the questions or statements presented in the survey. It is important to respect and include that input. It is essential that there is transparency and consistency throughout the process, and no hint that the orchestra committee, negotiations committee, or the local is deviating from the stated goals of the committee.

What kind of agreement best suits our needs?

Unlike musicians in the US, the majority of symphony musicians in Canada are independent contractors (self-employed), although there are some orchestras where musicians are classified as employees, including dependent contractors, under the Labour Relations Act. Symphonic Services can provide documents that outline the differences between employer/employee covenants and agreements for self-employed independent contractors. There can be implications for tax status and the Canada Revenue Agency that need to be considered. SSD can provide access to an online archive related to arts organizations to help understand the relevant issues.

In most cases, the CFM or the local seeks a collective agreement with the symphony society. The principal ways to achieve that are 1) through certification under the Labour Relations Act and collective bargaining (employer/employee relationship, including dependent contractor) or, 2) through voluntary recognition of the CFM, or the local, for collective bargaining. However, the first attempt at negotiation does not always result in a collective agreement and, in some cases, it is not the desired outcome. If that’s the case, or in the event that the management does not recognize the CFM or the local as the exclusive bargaining agent, a properly crafted “master” agreement with reference to the Arbitration Act is enforceable in the event of a dispute.

Provincial Labour Laws

Check your provincial labour laws related to the bargaining process. There are timelines to follow with respect to certification and collective bargaining. There are similar timelines for Voluntary Recognition Agreements once the CFM or local is recognized as the exclusive bargaining agent for the players. In Québec, the Status of the Artist legislation automatically recognizes Local 406, La Guilde des Musiciens et musiciennes du Québec, as the bargaining agent for musicians. 

Which key people should be
involved in the negotiations?

• Orchestra committee—four or five elected representatives

• Negotiations committee—may be elected, or open to anyone willing to make the commitment and to attend meetings; can be from three to 10 people

• Representative of the local—must be willing to attend all meetings

• Influential orchestra members—whether or not they agree to serve on a committee, they will be crucial in helping move the process forward

• AFM Symphonic Services Canada Director Bernard LeBlanc who can be reached at bleblanc@afm.org

This article is written for orchestras contemplating first negotiations, but many of the suggestions apply equally well to orchestras with existing agreements as they renegotiate new terms and conditions.  We have focussed on the areas where we have the most control and where we can generate the potential for success, which is with the musicians themselves, committees, and local officers.

Remember that an agreement may be changed every time it is re-opened or renegotiated. Orchestra bylaws or internal policies can change at any players’ association or players’ committee meeting. Always keep your local updated on changes that are made.

The Kingston, Gatineau, and St. John’s negotiations are currently in progress. SSD Canada is always ready and available to support musicians who wish to change or more clearly define their relationship with their orchestra management.

Recent News

Serving on an Orchestra Committee

by Christopher Durham, Chief Field Negotiator, AFM Symphonic Services Divisionby Chris Durham, AFM Symphonic Services Division Chief Field Negotiator

Service on an orchestra committee is both an honor and a responsibility. A functioning orchestra committee is an essential component of union democracy within a symphony orchestra. Orchestra committees should be elected with votes cast only by union members who are tenure-track musicians of the unit. When elected to an orchestra committee, your colleagues place their trust in you to carry out business on their behalf. Service on the committee is not just a huge responsibility on behalf of others, it is also a major time commitment.

The role of the orchestra committee is to assist the local (the lawful bargaining agent) in negotiation, enforcement, and administration of the collective bargaining agreement. The committee has a legal responsibility to fairly represent all members, just as the local does. It is not the job of the committee to be a watchdog of the local, but rather to be actively involved in addressing day-to-day issues that may arise. The committee is the eyes and ears of the local on the job. Successful committees are able to shape disparate factions of bargaining unit musicians into a unified collective. The more unified a bargaining unit, the more effective the local and committee will be in their relations with the employer.

The committee and local must have a respectful working relationship with open lines of communication. The local union representative and the committee must immediately discuss major decisions, waivers of the bargaining agreement, grievances, member to member issues, discipline, discharge matters, and more, before any action is taken by either. Periodic reports by the committee to the local union’s board of directors ensure that board members, and thus other segments of the membership, are aware of the successes and challenges faced by orchestra members. The committee should report the activities and issues of other local members to the orchestra.

Active participation with the local labor council (AFL-CIO) establishes relationships with the broader labor community that may be useful in times of need. This also encourages the labor community to attend performances and view the orchestra as part of the greater labor community. Sometimes our lack of participation isolates us and gives the appearance of elitism thus discouraging people who would enjoy our performances from attending.

As a member of the committee it is your role to represent all members, not just the faction that supports you. It is not your place to advance a self-serving agenda. Committee members should be well versed in the history of recent negotiations and gain a thorough knowledge of the bargaining agreement, especially regarding grievance filing and processing and the proper way to address discipline and discharge matters. The duty to fairly represent members is an obligation of the committee, in addition to the local union. Special care must be exercised when dealing with member versus member matters. When a committee member is approached by a member who is having an issue with another member, it must be immediately reported to the local. Together, they will seek advice on addressing such matters.

The enforcement and administration of the agreement doesn’t stop once a negotiation is over. Today, more than ever, we find ourselves continuing through the term of the agreement to do many activities once only necessary (or recommended) in preparation for bargaining. The AFM Symphonic Services Division (SSD) once had a checklist of items to do six months in advance of a bargaining. Today, many of these tasks should be done throughout the term of the agreement. One such critical task is researching the organization’s financials. Through online sources, we can view the employer’s 990 filings and more. If there are musician representatives to the board’s finance committee, they should also make periodic updates and provide financial information to the committee. They should report fully to the local and committee on board activities; if “sworn to secrecy” by the employer’s board they cannot function as our representatives.

With the proliferation of social media we have wonderful tools to enable us to communicate daily with members and supporters. Social media tools of choice—Facebook, Twitter, musician websites, or electronic newsletters—should always be up to date. Effective public information sharing should be ongoing. Databases containing bargaining unit member information; status of orchestra alumni, retirees, and audience members; board and staff contact information; and other supporter data should always be current. Maintaining active relationships with all constituencies is important. Much of this work can be done by members who do not want to serve on the committee, but are willing to volunteer for specific jobs. Our communication should also reach the greater labor community locally, as well as to AFM and player conferences.

The tough work of orchestra committee members should be valued and appreciated by members of the bargaining unit. Members work long hours volunteering to do their best for the welfare of their colleagues. Committees don’t always have good news or news that everyone in the unit will enjoy hearing. Members of the bargaining unit should refrain from attacking members of the committee or placing responsibility for a bad outcome on the committee or its members. In reality, the outcome of a negotiation is dependent on the health and position of the organization and proportionate to the resolve of the unit. Such attacks and blame do not help the outcome, but will likely discourage good and effective people from performing essential service on an orchestra committee.

Recent News

Make the Arts a Focal Point in Communities

by Robert Fraser, OCSM President and Member of Local 247 (Victoria, BC)

The International Federation of Musicians (FIM), of which the AFM is a member union, held its fourth triennial International Orchestra Conference (IOC) in Montreal, May 11-14. It was the first time this event was held in North America. I would like to thank all the organizers at FIM headquarters in Paris and the officers and staff of Local 406 (Montreal, PQ) for organizing a wonderful conference. You can find summaries of conference discussions on the FIM IOC website (ioc.fim-musicians.org).

If I had to summarize the conference in a “tweet” it would be: “Orchestras all over the world face the same challenges—some more than others.” Thirty nations were represented. I fully expected the room to be divided into “haves” and “have-nots”—nations that have traditionally shown support for artistic institutions, contrasted with those where symphonic music is seen as a frill, a symbol of a foreign (and not necessarily friendly) culture, or even a threat. Instead, what I observed were remarkable similarities.

Every orchestra struggles with its own mission, defining its place in society. Every orchestra faces the same funding challenges—even those with strong government support. And every orchestra faces the challenges of the new reality in media. In every country, the burden of creating an orchestra’s recorded legacy and media presence is falling away from broadcasters and record companies, and onto the orchestra managements.

The organizers of FIM IOC are to be commended for reaching out to orchestra managements to participate in their conferences. Orchestras Canada held its annual conference during the same week as the Montreal conference and shared a common day with the FIM IOC. I have always believed that management/musician cooperation and collaboration, where appropriate, can only make our organizations stronger.

At the FIM IOC it was a thrill to hear both of OCSM’s Montreal-based orchestras perform in the same week: the Orchestre Symphonique de Montréal and the Orchestre Métropolitain. Both performed in the beautiful Maison Symphonique. Sitting in this hall built in 2011, made me think about Canada’s 150th anniversary celebrations this year.

Arts Infrastructure in Canada

When Canada turned 100 in 1967 (and a number of provinces celebrated centennials shortly after), there was a lot of investment in performing arts infrastructure in Canada. Do an Internet search for “centennial concert hall” and you’ll see what I mean. Since then, however, not much has changed. Performing arts infrastructure hasn’t always kept up with the growth of our artistic institutions, the ever-increasing demands of population, and ever-changing community policies. Canadian cities that have been fortunate enough to build contemporary concert halls have done so through private-public partnerships, which aren’t always possible in mid and small population centres like Halifax, Nova Scotia; Victoria, British Columbia; or London, Ontario.

Canadian orchestras and our partner organizations in the ballet and opera world have grown immeasurably since 1967, yet many of our organizations are “homeless.” They rent facilities to perform in that, in some cases, were not designed to accommodate a symphony orchestra. They have nowhere to store a library or equipment, and they have no base of operations to engage in the ever-increasing activities that are expected of modern orchestras (supporting artists in nonsymphonic genres of music, making use of multimedia enhancements, or recording).

Aside from a much-needed new home for the Stratford Festival in Ontario, and a renovation at Southam Hall at the National Arts Centre, there is nothing on the radar in this sesquicentennial year—but it’s not too late. Let’s see what we can do to make the arts a focal point of our communities.

As always, I look forward to the round of player conferences this summer—ROPA, TMA, OCSM, and ICSOM. I hope to see many of you there. Have a great summer.

wage chart
Recent News

Use of the Comparative Analysis Feature of the AFM’s Online Wage Charts to Prepare for Negotiations

by Laurence Hofmann, AFM Symphonic Services Division Contract Administrator, Communications & Data Coordinator

Gathering facts and understanding the desires of each member of the bargaining unit are two essential components of preparation for collective bargaining negotiations. Negotiators may wish to integrate a variety of data from the AFM’s wagechart.afm.org website.

The AFM’s dynamic and interactive database is designed to filter the huge amount of data collected in the wage charts of player conference orchestras. In the July 2016 International Musician, I wrote an article that detailed the features and capabilities of the database hosted at wagechart.afm.org. The wage chart, specifically the “Comparative Analysis” section of the website, is a useful tool to organize schematic and graphic reports about an orchestra’s historical data, as well as orchestra status among peer orchestras. This article will illustrate how effectively the wage chart website and its sections can be utilized in negotiations.

The data contained on the website is complex and not always uniform across player conferences. Data is collected from collective bargaining agreements (CBAs), as well as furnished by the union and the employer. When management refuses to deliver financial information, it may be drawn from the nonprofit employer’s tax returns (IRS Form 990), which are public records. Finally, this data needs to be complemented by analysis of the socio-economic and cultural environment for bargaining.

The “Historical Review” feature of the comparative analysis may be used to visualize the historical growth of the orchestra and to highlight peaks (and valleys). Events that provoked those changes should be investigated by the negotiators: the resuming of an orchestra’s stature after a strike/lockout, a new management, renewed abilities to engage funding and to apply for grants, or successful ticket and subscription sales due to talented musicians or effective marketing. Other questions of interest about the socio-economic and cultural impact on the orchestra’s growth might concern the citizens’ consumption of culture, their preference for outdoor activities, their general level of education, the main industry in the region, and more.

By comparing an orchestra with its peers, negotiators can both identify and bolster realistic bargaining positions. Peer orchestras can be found by using the “Filter by Criteria” feature and applying one or more of the five filter criteria (season length, musicians currently employed, orchestra budget, minimum annual salary, minimum weekly salary) and by indicating a range of desired values for each filter. To extend comparisons among Regional Orchestra Players Association (ROPA), International Conference of Symphony and Opera Musicians (ICSOM), and even Organization of Canadian Symphony Musicians (OCSM) orchestras, some allowances may need to be made to allow for differing structures (e.g., season length determined by number of services vs. number of weeks).

Given all these premises, the historical review search should be followed first by a comparative one using a combination of three criteria: “orchestra size in terms of employed musicians,” “season length in terms of services guaranteed per season,” and “orchestra budget.” Then, to narrow the search further, it is best to use the five criteria all together. The scheme resulting from the search is enriched by additional items like: CBA expiration date (to understand if other orchestras may be negotiating as well), employer contribution to health care, pension fund, endowments, funds (city, state, regional, and federal funds and the proportion between public and private funds and investments), percentage of expenses dedicated to the musicians’ salary and benefits, and pertinent costs (to consider the impact of wage increases in the orchestra overall budget). The data about last season’s gains/deficits could be added to this scheme by consulting the wage charts for each individual orchestra in the “orchestras” section of the website.

A proposal that not only reflects the aspirations of the bargaining unit but is also supported by data available on the wagechart.afm.org website will have a greater likelihood of success. We all work together towards a successful negotiation. The “Comparative Analysis” is a go-to instrument to better understand the symphonic world. It will be continuously adjusted to the needs of users. This is why your suggestions, personal experiences, and comments are always welcome.

I conclude with a note from Local 9-535 (Boston, MA) President Pat Hollenbeck:

There is a Benjamin Disraeli quote apropos to this subject: “As a general rule, the most successful man in life is the man who has the best information.” Harvard Professor William Eisen has a mantra that he repeats over and over to his students: “You can never have enough information.” The vast information collated [at wagechart.afm.org] gives us all the tools we need to enter orchestra negotiations with a deep understanding of the marketplace. The filter tools and the historical review permit us to drill down into very specific details tailored to fit every negotiation. It would be impossible for us to collect all the data that we have at our fingertips, instantly, 24-7, and it has proven to be an invaluable resource. We would be lost without it.

ecma
Recent News

Return to the ECMAs in Full Force

by CFM Executive Director Liana White

ecma

CFM staff co-hosted a panel for emerging artists. (L to R) are: CFM International Represenative Allistair Elliott and Licensing coordinator Rosalyn Dennett and Musician Pension Fund Canada Administration Director Jill Giustino and Benefits Director Humbert Martins. (Not pictured is CFM Membership Services Coordinator Cathy Lee.)

In light of the renewed relationship between the Canadian Office (CFM) and the East Coast Musicians Association, staff from the Musicians Pension Fund of Canada and Canadian Office participated in most facets of the weeklong East Coast Music Awards, which were held in Saint John, New Brunswick.

The CFM and the Fund hosted a joint information panel targeted at emerging artists, most of whom were registered in the ECMA Mentorship Program, offering a series of practical business seminars to those artists. Our panel was well attended, and we were pleased that ECMA Board Members took the time to attend and learn more about our union. The feedback received was very positive, leaving both sides with a better understanding that will lead us positively in our efforts to enrich the lives of professional musicians. As also provided for within our agreement, we participated in the exhibit area ensuring we reached as many musicians and industry representatives as possible.

Many of our members attended and performed at the ECMAs, and many of those members were nominated for and/or won awards. We proudly congratulate all AFM members who were recognized for their talents at the award level. The CFM team on the ground enjoyed seeing so many of our talented members perform. Unfortunately, due to time constraints, we are unable to list all of these members. However, we would like to recognize Local 820 (St. John’s, NL) President Greg Bruce, who performed with his party-jazz band, Ouroboros, and received a standing ovation. And Local 820 Executive Director Rozalind McPhail won the ECMA Award for Electronic Recording of the Year. Last, but not least, is Local 815 (Saint John, NB) President Greg Marks who performed even after spending long days with the CFM staff in the exhibit booth. It is always helpful and appreciated to have our (jurisdictional) local officers participating alongside the Federation staff.

In addition to many members, potential members, and industry representatives, we also connected with heads of the four provincial East Coast music industry associations with which we have continued to work on forging closer relationships, not just on the national level but with the respective local in each province.

While the event went well overall, there are a few matters surrounding the contracting of certain performances that are still being ironed out and will definitely be corrected for next year’s 30th Anniversary ECMA Week in Halifax, Nova Scotia. 

Again, I’d like to thank the local officers named above for their participation, as well as the Fund and CFM staff who represented a strong and positive presence for our union.

Colored Musicians Club
Recent News

Gala Commemorates 100th Anniversary

AFM Local 92 (Buffalo, NY) was formed with the 1969 merger of Local 43 The Musicians’ Protective Association of Buffalo (chartered in 1897) and Local 533 The Colored Musicians Association (chartered in 1917). The Colored Musicians Club of Buffalo was formed as a social club offshoot of Local 533 some years after the founding of the local. The club, located at 145 Broadway in Buffalo, has its own jazz museum with a mission to promote and preserve the history and knowledge of African-Americans and jazz music in Buffalo.

On April 15, 2017, the Colored Musicians Club hosted a Centennial Grand Gala at the historic Hotel Lafayette celebrating the 100th anniversary of the founding of Local 533. At the gala, AFM Local 92 President Jim Pace presented the original 1917 Local 533 charter to Colored Musicians Club President George Scott as a gift from Local 92.

“Local 92 had possession of the original Local 533 AFM charter for almost 50 years, ever since the merger of Locals 43 and 533 in 1969. The Board of the Buffalo Musicians’ Association felt the 100th anniversary of the founding of Local 533 was the perfect time to present the original Local 533 charter to the Colored Musicians Club as a gift for display in their museum,” says Pace.

“Through strength and determination, Local 533 successfully fought discrimination in the musical community, business, and in its openness to all races in both the union and in its social club. The Colored Musicians Club and the Colored Musicians Club Jazz Museum are dedicated to promote and encourage research and preservation of the history of jazz music in Buffalo, as well as to expose and educate our youth to their musical heritage,” says Scott. “It was an honor to have Local 92 there to join us in celebration. Although Local 533 was formed because of segregation, the friendship over the years helped to merge 43 and 533 into what now stands as one of the best locals in the City of Buffalo, Local 92.”

Peter Cho
Member Profiles

Peter Cho: Educating and Organizing in the Big Easy

Peter Cho

Peter Cho of Local 174-496 (New Orleans, LA) is a pianist, educator, and union board member whose work runs the gamut, from advocacy for all musicians to mentoring a younger generation of music students.

At the Louis Armstrong Jazz Camp, where Peter Cho of Local 174-496 (New Orleans, LA) has taught for the last 20 years, he says, “We make sure music students are well-rounded. Part of that is making sure they understand their capacity for other things. If you’ve got an analytical mind, explore music composition or the music business, maybe as a booking agent or a talent buyer. It’s a holistic approach to education.” An educator and jazz pianist, Cho is the executive dean of Delgado Community College’s West Bank Campus.

For a much sought-after pianist, Cho admits he had a rather inauspicious start, learning piano as a kid—and hating it, he claims—because it required too much discipline. In high school in Auburn, Alabama, he played the clarinet in the jazz band and participated in music festivals around country.

Before he knew it, the kid who was heading to Auburn University for pre-med was getting scholarship offers for music. Cho says he owes his sudden change of heart to his father, a professor of veterinary medicine, who said, “I don’t want you to be an old man, wondering, ‘what if?’” Cho ended up at Loyola University on a scholarship as a jazz studies major. 

In New Orleans, he began playing gigs immediately. Cho would take the streetcar downtown to the Maison Bourbon, where he’d met an old piano player by the name of Ed Frank. Cho says “I’d hang out with him every day. He was my unofficial teacher and mentor.” By the time he was 19, Cho was playing piano professionally.

The cultural economy is the life force of New Orleans rooted in older musicians passing the mantle on to younger musicians. Like elder statesmen of the Marsalis and Batiste families, Cho sees his job as an extension of this, training younger generations of musicians. He says, “As a community we are doing what we need to do to make sure that engine of creativity continues.”

As a dean and a musician Cho has found what’s meaningful. “You understand how you fit into your community, how what you do matters to others,” he says. The college enlists musicians from the community, many of whom are retired, to teach classes and provide students with real-world ensemble experience. “They want to give back. Professional musicians are mentoring. It’s the internal program linking students to the actual music scene.”

Early on, Cho (who went on to earn a Ph.D. in Education Administration from the University of New Orleans), studied with Michael Pellara. He’s responsible for many of the city’s best musicians, including the younger Jon Batiste of Local 802 (New York City), who also came out of the Armstrong camp and is now the musical director of The Late Show with Stephen Colbert. Pianist Barry Doyle Harris of Local 802 served as an inspiration for Cho. Nearly every night, since 1990, the 48-year-old Cho has performed with James Rivers and his band, The James Rivers Movement, which has been a fixture in the city for nearly 50 years. He is also a pianist for the Victory Swing Orchestra of the WWII Museum. 

On stage, he’s performed with Willie Singleton of Local 56 (Grand Rapids, MI), Jimmy Heath of Local 802, and Johnny Vidacovich, George Porter, and Delfeayo Marsalis, all of Local 174-496, to name only a few.

An executive board member of Local 174-496 since 2006, post Katrina, Cho knows firsthand the permanent shadow the storm cast over the city, where once-robust music neighborhoods have been forever altered. When Katrina struck, the natural musical traditions of individual areas were uprooted. “A lot of musical families were displaced. Musicians came back, but they weren’t able to settle in old neighborhoods. The actual engine that created this musical tradition and culture has been disrupted,” Cho explains.

Musician friends of Cho’s, who were forced to relocate, say one positive effect of displacement is that there now exists a fairly thriving New Orleans style jazz music scene in other cities, like Houston and Atlanta. He says, “These cities are seeing an influx or growing New Orleans musical and cultural heritage.”

The loss of neighborhoods and the corner clubs after Katrina created unexpected opportunities for musicians. But Cho says, “There are districts where a lot of musicians are willing to play for the door or tips, and aren’t necessarily compensated as professionals. The local has been trying to fight for musician’s rights, trying to organize and give all musicians a roadmap.” He’s encouraged, noting, “I’m seeing a lot of attitudes of nonunion musicians change; if we’re willing to undercut each other, everybody loses.”

“Right to work” laws obviously obstruct the aims of the local union, but with the present board and Deacon John Moore at the helm, Cho sees more solidarity among all musicians, union and nonunion alike. Moore’s efforts, in fact, have greatly improved working conditions for musicians.

“Once nonmembers understand the advocacy and how we as musicians fit into the cultural economy and how we, as raw materials of this economy, have more power. If musicians boycotted playing any type of music for one day, the ramifications would be tremendous,” he says.

“That’s how you mobilize and show what type of clout you have. It gives you more leverage and you’re better able to go to club owners and say, ‘Hey, we’re not going to take these conditions anymore.’” In addition to highlighting the benefits of a pension, the local advocates financial literacy. Cho says, “One of the things we tell musicians is: pay yourself first, you’re worth it. And you’ll have something to fall back on.”

Recent News

JUNO Award Week in Ottawa

by Robin Moir, Secretary-Treasurer of Local 180 (Ottawa, ON)

The week leading up to the April 2 JUNO Awards was exciting here in Ottawa. Not only were we able to sign a first-time, Canada-wide, three-year deal with CARAS for a CFM JUNO Agreement, but we were able to join in the fun of a city jam-packed with Canadian talent and fans! In all previous years, the agreement was signed year-to-year and negotiated between CARAS and the local of jurisdiction for the year’s event.

Nightclubs and bars were rockin’. There was a JUNO Cup Jam March 30. This year’s JUNO Songwriters’ Circle was hosted by 12-time JUNO Award winner and Local 180 (Ottawa, ON) member Bruce Cockburn, live at the National Arts Center April 2.

The 2017 JUNO Allan Waters Humanitarian Award went to Canadian singer-songwriter, educator, activist, and humanitarian Buffy Sainte-Marie, Ph.D., a member of Local 802 (New York City).

Ottawa also had something special planned for Sainte-Marie. The Speaker of the Senate, the Honourable George J. Furey Q.C., the Honourable Marilou McPhedran C.M., the Honourable Lillian Eva Dyck, the Honourable Sandra M. Lovelace Nicholas C.M., and the Honourable Murray Sinclair invited guests and members of Local 180 to a Senate event called “Celebration of the Power of Music,” honouring Sainte-Marie.

It was a remarkable occasion—the first time in the history of the Senate that music was celebrated. The first part of Sainte-Marie’s speech was dedicated to an initiative that the CFM has been lobbying for with the air transportation industry: carry-on allowances for musical instruments.

We were delighted to welcome such a powerful advocate for such an essential issue to our industry. We were also pleased to meet and greet many who believe, as we do, that the time has come for all air transportation corporations to offer musicians instrument carry-on opportunities.

“Minister of Transport Marc Garneau’s office is currently juggling a new passenger bill of rights, which we believe will address the issue of musicians travelling on airlines with musical instruments. We are so grateful to Sainte-Marie for her unsolicited support,” explains AFM International Representative from Canada Allistair Elliott. “We are committed to seeing this issue through to the end as we represent the interest of all musicians in Canada.”

Last but not least, Local 180 has been lucky to welcome Jacob Dioszghy as an intern. Dioszghy is a singer-songwriter and producer who is planning to study law. He is First Nations, like Sainte-Marie. Dioszghy’s mother was thrilled to discover he would have the opportunity to share in this wonderful event. Little did she guess that he would have a photo taken with one of her all-time favourite First Nations artists: Buffy Sainte-Marie.

Music Performance Trust Fund

MPTF Events Showcase: The Chamber Music Society of Mississauga

By Dan Beck, Trustee Music Performance Trust Fund

Chamber Music Society of Mississauga

The target audience for the Artfull Wellness program is aging adults; people with developmental, intellectual, and/or physical disabilities ranging from mild to severe; and those with long-term illnesses.

The Music Performance Trust Fund (MPTF) co-sponsors hundreds of free live events annually that enrich municipalities across North America with the talents of inspiring professional musicians. It is the hard work and creative efforts of community organizations, working with AFM locals, that make these performances happen with the quality and care to make us proud. We hope to shine a light on some of our outstanding partners in the pages of the IM from time to time. This is the first installment of that series.

The Chamber Music Society of Mississauga (CMSM) is a charitable organization dedicated to presenting excellent live, small-group chamber music events that educate and inform. It strives to make these events truly enjoyable to young and old. This not-for-profit organization is located in the lakeside city of Mississauga, Ontario, a vibrant city in the Toronto metropolitan area.

CMSM seeks to inspire a love and appreciation for music and the arts in the community, especially among school-age children and their families. The organization also nurtures talent by providing enriching opportunities for professional and community musicians to perform new chamber music repertoire, and by presenting the talent of local people from other artistic disciplines.

Committed to creating a rich cultural community in Mississauga and surrounding areas, CMSM inspires musicians and artists from diverse cultural backgrounds to come together to explore and develop their talent. This means providing an opportunity and a venue for new artists.
It also means offering cultural performance programs that stimulate and intrigue new audiences to seek further classical chamber music experiences.

The organization strives to be the key art-in-education resource in the community—for schools, libraries, and children’s festivals. The organization is a valuable resource to the community’s teachers.

Chamber Music Society of Mississauga

The Music Performance Trust Fund (MPTF) and the Chamber Music Society of Mississauga (CMSM) collaborated on 34 performances as part of their new Artfull Wellness program for seniors and other health-challenged individuals.

This past year, the MPTF and the CMSM collaborated on 34 performances as part of their new “Artfull Wellness” program, held primarily at retirement homes and libraries. The target populations for the program are aging adults, some with dementia; people with developmental, intellectual, and/or physical disabilities ranging from mild to severe; and those with long-term illnesses. These programs are guided by the Canadian Association for Music Therapy’s standards and practices. In addition to MPTF funding, these programs receive financial support from the Ontario Trillium Foundation and the Community Foundation of Mississauga.

Professional musicians involved in the program begin by preparing specific repertoire. Working with a registered music therapist, they design unique programs and activities that utilize common rhythm instruments. There are opportunities, not only for the audience to enjoy the aesthetic beauty of live classical music, but also to express themselves, move, play, socialize, and relax.

Few healthcare settings have the resources to independently provide a program of this calibre. Few residents, clients, and staff members have ever been this close to orchestral instruments. For some people in healthcare settings, traveling to a concert hall can be daunting due to transportation, cost, and wheelchair seating restrictions. At Artfull Wellness events, there is generally no stage and no curtain, just people invested in the common purpose of making music together, engaged and involved in their fine arts community.

The MPTF celebrates the good work of the Chamber Music Society of Mississauga and the musicians from AFM Local 149 (Toronto, ON) who make this program so very special. If you would like to learn more about Artfull Wellness and the CMSM, visit the website: www.chambermusicmississauga.org.

Executive Board Members, Officer Columns

The Truth About Right to Work (For Less)

by Tino Gagliardi, AFM International Executive Board Member and President of Local 802 (New York City)

When the National Labor Relations Act (NLRA), the legislation that protects the rights of employees and employers and prevents employment practices that are harmful to workers as well as to businesses and the overall economy, was enacted in 1935, a wide swath of the country immediately and bitterly opposed it. Republican leadership and the business community criticized the definition of “employee,” the act’s encouragement of collective bargaining, and the preservation of employee rights and protections at the expense of employer rights.

This debate, commonly referred to as “right to work,” still rages to this day. However, today’s political climate and the gains the right to work movement has made over the last two decades are making it more potent and dangerous for the labor movement than ever before.

On February 1, Congressman Steven King (R-IA) and Joe Wilson (R-SC) introduced the National Right to Work Act in Washington, DC. Similar legislation has been proposed and defeated in the past, but the Trump Administration, coupled with Republican control of both houses of Congress, could mean that right to work advocates have the political and legislative strength to win a victory at the national level.

Though Congressmen King and Wilson claim that they are fighting for the rights of workers by “erasing the forced-dues clauses” and unburdening Americans from the yoke of organized labor, don’t be fooled. This type of legislation, already passed in 27 states, has nothing to do with worker rights and everything to do with undercutting a worker’s strongest tool and ally—labor unions.

NLRA and Right to Work

Labor unions are vital to the health and vibrancy of a strong, safe, fairly-treated workforce, as well as an efficient economy. After the Taft-Hartley Act banned “closed shop” practices in the United States, unions found themselves advocating for fair pay and treatment of all workers, even those who were not union members. This was not only reasonable, it was a great thing for our communities, our families, and the vibrancy of our country.

This advocacy in “union shop” businesses has resulted in enormous gains for workers, including higher wages, safety laws, weekends, health and pensions, and scheduling practice standards (among others) that are now an assumed part of our daily lives. These protections help us ensure that hard working Americans can secure a decent living for themselves and their families.

Under the guise of benefiting workers, right to work legislation does the opposite. By incentivizing workers to benefit from union advocacy without paying dues, they are encouraging a “tragedy of the commons,” or “freeloader” mindset that ultimately undercuts the financial viability of union work and undermines the power of collective action.

Right to work advocates claim that this type of legislation creates jobs and allows for free-market economic growth. But nationally, wages in right to work states are 12.1% lower ($6,109/year) than in “union shop” states, and employees are less likely to receive health insurance or pensions from employers. Why? Because workers don’t have the strength or protection of collective action and representation that is vitally important.

The Right to Work … for Less

Who actually gains from right to work? The employers. Right to work legislation games the system, working around the NLRA to avoid employment requirements and ultimately takes worker rights from employees.

What workers and musicians across this country must realize is that right to work legislation is an insidious effort by employers to wrestle away the rights of employees. Nothing these politicians and right to work advocates publicly claim to desire is needed. The NLRA already allows for non-union workers to work in union shops, with the only expectation being that they help pay for the benefits they receive from working that healthy and protected environment. So why is it necessary? Ask the employers, large corporations, and political stakeholders that benefit from a weak workforce and the destruction of labor union values. Just follow the money that isn’t making its way into your pocket.