The good practice examples have been mostly collected through the survey and identified during country study visits and Gender Equality Thursday workshops. Each example has been tagged by its type, theme and country and screened against the criteria listed hereafter.
The types of good practice examples in the reader are defined as follows:
The themes of the good practice examples are defined as follow:
The intention of the good practice examples database is to keep it as a living resource so that it can be updated and completed with the new initiatives that are emerging in the live performance sector across Europe. Examples have been identified, standardised and put together by Agnieszka Paczyńska, a researcher specialised in education, social inclusion and the labour market of the arts sector.
|Country||Type||Theme||Organisation||Name of the initiative||Description||Social partners involvment||Website|
|Spain||Campaigns/tools||Bullying and sexual harassment prevention||APDCM (Asociación de Profesionales de la Danza en la Comunidad de Madrid) member of ConARTE (Confederación de Artistas Trabajadores del Espectáculo)||ArtistsPrevent||#ArtistsPrevent is a free mobile application that aims at preventing bullying, and gender-based harassment in workplaces. The APP provides a self-checking tool that helps to identify the problematic situation and to prevent unwanted suffering or bullying or sexual harassment situations. Based on the answers, the app creates a virtual model of the problematic situation that helps to predict how such a situation will develop. It proposes tools to change the situation and to give the empowerment necessary to look and ask for help. It also provides possible further solutions (e.g. psychological support, intervention of the Union, legal support, etc.). Tools for dancers and musicians are now being developed through a participative process based on the systems thinking method. #ArtistsPrevent is a predictive technology based on the logic of complex systems, that uses dynamic modelling and simulation, with Artificial Intelligence and advanced data analytics. Social DinAPP (an association created to foster technology and science for a true smart society) won the best social startup category at the Next Talent Generation EU contest in 2018 in Madrid.||Yes||Link|
|Spain||Surveys/studies/monitoring||Representation of women, equality in decision making||Clasicas y modernas - association of women working in literature, journalism, music, performing arts, cinema||¿Dónde están las mujeres en la música sinfónica? (2019); ¿Dónde están las mujeres en las Artes escénicas? (2018-2019)||Founded in 2009, Clásicas y Modernas is an association of women and men working to promote equality of women in culture in a broad sense, including all the arts, the humanities, and the social sciences. Most of their members belong to the fields of literature, journalism, music, performing arts, philosophy, cinema, and visual arts. They believe that culture is a key instrument to achieving equality in society. Aware of the discrimination, and invisibility of women in culture, they work to achieve an egalitarian representation of women in culture (as advocated by Article 26 of Chapter II of the Spanish Equality Law). That goal entails equal access to positions of power, equal participation in governance bodies, equal potential for the production, distribution and exposure of works produced by women, and the same opportunities to have a voice in the cultural life of the community. They support the implementation of affirmative action policies to remove structural barriers that discriminate against women. The reports Where are the Women in the Performing Arts? and Where are the Women in Classical Music? are outcomes of the project Seasons of Equality in the Performing Arts launched in Spain in 2016. Both reports describe the underrepresentation of women in music and the performing arts in Spain. Describing the imbalanced situation contributed to the establishment of the Gender Equality Observatory in the field of Culture at the Ministry of Culture and Sports of Spain that, in 2020, carried out the first Report on the Application of the Equality Law in the Field of Culture, with the cooperation of Clásicas y Modernas and other associations focussing on women in culture.||Yes||
|Spain||Surveys/studies/monitoring||Representation of women, equality in decision making||Ministry of Culture and Sports of Spain||Gender Equality Observatory||The Observatory promotes the presence of women and equal opportunities in all cultural undertakings. It is initiated by most representative womens associations and operates under the jurisdiction of the Ministry of Culture and Sports. To meet its objective, the Observatory analyses information on gender, monitors situations of inequality and implements preventive measures. It promotes female representation in cultural undertakings, as well as ensuring women are represented on the expert committees and evaluation bodies.||No||Link|
|Spain||Campaigns/tools||Representation of women||Territorio Violetta||Festival Territorio Violetta||Festival Territorio Violetta is an initiative that rewards and supports artistic performance pieces that focus on equality by emphasising the complementarity of genders. They organise the Territorio Violeta Festival. It is a multidisciplinary festival devoted to achieving gender equality in society by monitoring performing arts initiatives. The aim is to achieve 40/60% participation of women and men in all performing arts initiatives. The following are among the initiatives carried out within the framework of the festival. 1. Masterclass for professionals in the performing arts sector seeking to introduce the gender perspective into their field of action and for the general public interested in learning about gender analysis when watching a performance. 2. Awards and distinctions (a statue) for shows that fulfil certain criteria. Their content does not explicitly focus on issues of inequality, gender discrimination or violence; it covers all types of shows, whatever their subject matter, as long as they incorporate characters of both men and women, that the content is inspirational, admirable and represents new, more current, egalitarian and democratic social references. It is done by applying objective and scientific indicators, not subjective ones.||No||Link|
|Spain||Campaigns/tools|| Representation of women ;
Equality in decision making
|Circada. Festival de circo de Sevilla, International University of Andalusia||The Good Practice Guide for Parity in Circus Festivals||For several editions, Circada Festival has dedicated some space to reflection and activities on gender equality trying to explore and address the specifics of this topic within the world of contemporary circus in Spain. The Good Practice Guide for Parity in Circus Festivals is a project of the Circada Festival in collaboration with the Circaire Festival of Alcudia, with the support and cooperation of the International University of Andalusia. The project aims at developing tools for more gender balanced and inclusive circus festivals and projects.||No||Link|
|Germany||Counseling||Bullying and sexual harassment prevention||Themis||Themis-Vertrauensstelle gegen sexuelle Belästigung und Gewalt e.V.||Themis is a confidential, non-profit counselling service for the German creative industries against sexual harassment and assault. It is a joint undertaking of 17 institutions (both employees and employers associations) established in 2018. Themis provides free legal and psychological advice and workshops on prevention of sexual harassment, education materials and is also involved in various research projects.||No||Link|
|Germany||Strategies/setting targets|| Representation of women;
|Pro Quote Bühne||Pro Quote Bühne||A growing group of stage directors and other theatre professionals who are campaigning for equal cast and equal pay. They demand a 50% quota for women in all theatre departments and at all levels of theatre production. In 2017, they developed a Manifesto https://www.proquote-buehne.de/wollen/manifest/ that serves as a basis for their actions. They are supported by a large group of people from the arts, politics, and media. They carry out lobbying, mailing campaigns, awareness raising actions, as well as support for women networking.||No||Link|
|Germany||Campaigns/tools||Representation of women||NEROPATM Neutral Roles Parity, Belinde Ruth Stieve||NEROPA||NEROPA Neutral Roles Parity by Belinde Ruth Stieve is a method to encourage diversity and increase the proportion of women in film projects on and off screen and to raise awareness about equality issues. NEROPA can be used to provide diversity during the script development and/or film production stage. NEROPA is a protected brand and can also be used in other industries, to help move away from present-day gender imbalance towards a multifaceted future on screen.||No||Link|
|Germany||Campaigns/tools||Representation of women||The German Cultural Council eV (Kulturrat)||Mentoring programme||A mentoring programme, offered by the German Cultural Council since 2017, for women who have ambitions to hold a management position in the field of culture and media. Women eligible for the programme must have at least 10 years professional experience. There is no age limit. So far, five rounds of this programme have been implemented. Experienced mentors from the fields of design, visual arts, music, theatre, literature, dance, museums, foundations, cultural administration and politics, business, media and film are made available to the mentees for each mentoring round. Each round takes six months and involves at least 10 hours of consultation. With 100 tandems (mentees-mentors) already created, the programmes group of alumni is growing.||No||Link|
|Germany||Studies, surveys, mentoring|| Representation of women ;
Equal pay ;
Equality in decision makers
|The German Stage Association (Deutscher Bühnenverein)||Theaterstatistik||The study provides a regular overview of the most important data on public and private theatres, orchestras and festival companies in Germany, Austria, and Switzerland. Each individual company is shown with information on events and visitors, staff, income and expenses, and prices. In volume no. 54 (for the 2018/2019 season) a total of 142 state theatres, municipal theatres and state theatres as well as 128 orchestras (including theatre orchestras), 199 private theatres and 84 festivals reported their income and expenses, personal details, visitor numbers and events. Theaterstatistik is the most comprehensive reference work on the cultural and economic importance of theatres and orchestras in Germany. The Deutscher Bühnenverein aims to preserve the unique diversity of the theatre and orchestra landscape in Germany, to support its members (theatres and orchestras) in the fulfillment of their tasks, to enable exchange of experiences, and to represent their interests.||No||Link|
|Germany||Strategies/setting targets||Equal pay||Vereinte Dienstleistungs-gewerkschaft||Ver.di||Ver.dis statute ensures 50% representation of women in all Ver.di undertakings. Use of the diversity star is obligatory, e.g. Liebe Kolleg*innen. Ver.dis Rainbow working group was created to fight homophobia and promote equality among all people regardless of sexuality. All the collective agreements negotiated by Ver.di have gender equality embedded in their content working conditions, working hours, equal pay. They also cover freelancers but private companies are not obliged to comply with these collective agreements. Nonetheless, some companies (about five) in the live performance and audiovisual sector opt to use them. Ver.di is engaged in creating Betriebsrats works councils across Germany and in supporting its founders and members with know-how and free training. For ver.di members all advice and counselling is free. Ver.di is involved in the What do women earn campaign https://www.was-verdient-die-frau.de/ which aims to empower women by increasing their economic independence.||Yes||Link|
|Germany||Studies, surveys, mentoring||Representation of women||The German Music Information Centre (Deutsches Musikinformationszentrum, MIZ)||National in-depth survey by the German Music Information Centre||The German Music Information Centre, in collaboration with Deutsche Bühnenverein and DOV (Deutsche Orchestervereiningung), conducted a survey in autumn 2020 of 129 professional orchestras (9,884 musicians) that provided new data on gender balance among professional musicians in Germany.||No||Link|
|UK||Training/mentoring programmes||Representation of women||Sphinx Theatre Company||Sphinx 30||Sphinx 30 is a year-long programme celebrating Sphinx Theatres 30th anniversary. Sphinx 30 will be launched alongside the Sphinx Lab pilot project, a brand-new writers development programme for 15 female playwrights and will conclude with a series of showcase events as a celebration of 30 years of Sphinx Theatre. Writers will be selected via an Open Call and also via partnerships with other UK theatres to ensure all talent across the UK is reached and that writers at all stages of their careers are included. Sphinx Theatre Company has been active in promoting, inspiring, and advocating for women in the arts for more than 40 years. It undertakes productions, organises conferences, and is involved in research.||No||Link|
|UK||Surveys/studies/monitoring|| Representation of women ;
Equal pay ;
Promoting work-life balance ;
Equality in decision making
|Joint undertaking of Sphinx Theatre, University Women in the Arts, The Writers Guild of Great Britain, Equity, ERA 50: 50, Black Womxn in Theatre, PIPA (Parents and Carers in Performing Arts), the December Group and Stage Directors UK.||Women in Theatre Forum and reports||The Women in Theatre Forum was organised following Sphinx Theatres year-long research project with the University of Cambridge in 2019. This project demonstrated gender inequality issues in theatre and resulted in four reports: What Share of the Cake? a 2019 quantitative report updating statistics on gender parity and equality in UK theatre; Women Centre Stage a qualitative report identifying key themes in terms of challenges and potential solutions emerging from the Women Centre Stage symposium which took place at the Hampstead Theatre in February 2019; Women Centre Stage: Interviews a qualitative report based on interviews conducted by Sphinx Theatre Company with 10 Artistic Directors of NPO theatres in 2019; Recommendations this fourth and final report made recommendations for policy makers, funding organisations, and the theatre industry based on findings from this year-long research project to help improve gender parity and equality in UK theatre.||No||Link|
|UK||Studies, surveys, mentoring||Promoting work-life balance||PIPA Parents and Carers in Performing Arts||Charter Programme||PiPA was created in 2015, to address a lack of provision for parents and carers in the performing arts. Leaders across the arts have responded with enthusiasm to new ideas, integrating PiPA into new working structures and approaches. Since then, PiPA has grown into a dynamic national company reflecting an increasingly urgent need for representation and change, creating new opportunities across the performing arts. It now includes dance, opera, and music organisations across the whole of the UK. The Charter Programme is a framework providing participating organisations with data-driven insights, a comprehensive toolkit, ongoing collaboration, and access to the growing network of PiPA partners in order to work towards achieving the 10 points on the Best Practice Charter. The programme offers multiple tried-and-tested solutions and strategies as well as case studies, sample budgets, guides, and practical resources. The combination of Charter Programme, symposiums, events, toolkit and expert guidance provide a unique set of resources designed by and for the performing arts.||No||Link|
|UK||Training/mentoring programmes||Representation of women||Joint undertaking set up by several musical directors and a composer, orchestrator and music supervisor.||The Musical Director Mentorship Scheme||The Musical Director Mentorship Scheme is a nine-month programme which connects mentees (aged 18 and up), who are interested in pursuing a professional career as a musical director, with professional musical directors, who are currently working in the musical theatre industry. The mentorship scheme is open to anyone in the UK with an interest in learning more about making music for theatre, but those who are of marginalised genders, (including women, non-binary people and trans men) and/or those who might face barriers within the industry due to their race or ethnicity, are particularly encouraged to apply. It is offered completely free of charge, and on a voluntary basis. Mentees who are selected for the scheme will meet with their mentor once a month for one hour starting in August/September (virtually and/or in person), and these sessions will be entirely personalised to support the mentee's goals.||NA||Link|
|UK||Taking pledges|| Representation of women ;
Equal pay ;
Equality in decision making
|Keychange||Pledge for gender equality||The Keychange Pledge stands for a collective effort to change the underrepresentation of women and gender minorities in the music industry. Through this Pledge, Keychange is building a network of music festivals and organisations that are committed to achieving and transforming representation throughout the music industry. The targets are defined and owned by the festivals and organisations themselves; Keychange collects the data annually to help measure progress. Keychange is a global movement fighting for a sustainable music industry. It supports talented but underrepresented artists and encourages organisations to take a pledge for gender equality. Over 500 organisations have already taken the pledge and they form a global network aiming to achieve equal representation in the music industry.||No||Link|
|UK||Campaigns/tools||Bullying and sexual harassment prevention||Equity||Safe spaces||The Safe Spaces campaign aims to give its members (performers and creative practitioners) the confidence to challenge and report inappropriate behaviour. It calls on companies to demonstrate their commitment to creating spaces free of bullying and harassment by reading the safe spaces statement at the beginning of a productions rehearsal period. Supporting members to challenge and report harassment and inappropriate behaviour is at the core of the campaign. A step-by-step guide offering clarity on unacceptable behaviour and good practice as well as advice on what to do if somebody is the victim or observer of sexual harassment or assault is now being developed. The safe spaces statement was written by the Safe Spaces working group. The group, formed in 2017 in the wake of #MeToo, aims to address the industry's sexual harassment crisis. The Safe Spaces strategy was placed under review from May 2021 to consider its impact and effectiveness, with a plan to re-launch in late 2021. Equity is a union of more than 47,000 performers and creative practitioners, united in the fight for fair terms and conditions in the workplace.||Yes||
|UK||Campaigns/tools||Representation of women||Equity||Manifesto for casting||Equity is a union of more than 47,000 performers and creative practitioners, united in the fight for fair terms and conditions in the workplace. The manifesto is intended to make the audition process fair and give all talented performers a chance regardless of their age, gender, ethnicity, sexuality or socioeconomic background. It seeks to change the audition process by ensuring it is fair, clear, less stressful, and more inclusive. It lists the important aspects of the stages of audition from the job being advertised to the post-audition stage detailing how each stage can be made more inclusive.||Yes||Link|
|UK||Other||Other||Equity||Equity's recommendations for theatre critics||Equity is a union of more than 47,000 performers and creative practitioners, united in the fight for fair terms and conditions in the workplace. Equity has developed guidelines for theatre critics to challenge their own unconscious assumptions about race and overcome their own biases. The guidelines promote writing about race and race-related issues responsibly, with care, sensitivity and thought. All critics should avoid unnecessary unconscious bias and constantly guard their language when writing about the relevance of race, ethnicity or skin colour in their articles. Following these recommendations would help to ensure their work is done to the highest standards and quality, and would contribute to a more diverse cultural scene. The guidelines stress the value of high-quality criticism for the creative sector.||Yes||Link|
|UK||Strategies/setting targets||Representation of women||City of London Sinfonia||Gender inclusive pledge||A 2017 conference on the lack of gender diversity among conductors in the UK. Matthew Swann, a Chief Executive of City of London Sinfonia, was in a position to take a pledge on including women and ethnically diverse people in leadership positions in the orchestras major artistic projects. There was no formal strategy to do this. The change has happened organically. Matthew Swann decided to cooperate with several female conductors and directors who were ready to think outside the box when it comes to the artistic undertakings of the orchestra and to implement a more inclusive approach to who directs the orchestra. This resulted in more inclusive projects that are open to various forms of artistic expression and repertoire. At the moment the vast majority of the orchestra members are women and most of the leadership positions are taken by women.||No||Link|
|UK||Studies, surveys, mentoring||Promoting work-life balance||PIPA Parents and Carers in Performing Arts, Equity, My Family Care||PIPA My Family Care ???Pilot||Started in January 2019, the PiPA My Family Care Pilot is a scheme to offer solutions for parents and carers working in the performing arts who require flexible family support, due to the unpredictable nature of their careers. My Family Care is a UK-based company delivering family-friendly solutions, to provide users with access to a wide range of resources, including ad hoc child and elder care.||No||Link|
|Several EU countries||Training/mentoring programmes|| Equality in decision making ;
Representation of women
|European Music Council, European Choral Association, European Union of Music Competitions for Youth, European League of Institutes of the Arts, IETM International network for contemporary performing arts, FACE, International Music Council, Trans Europe Halles||Shift Culture||The project SHIFT lasts from December 2019 to December 2021) and provides training for cultural leaders on various themes including cultural leadership, Gender and power relations, inclusion. Working together and creating paths to face global challenges, implementing necessary changes and passing on the knowledge to leaders and staff members in the cultural institutions are the key targets of the project.||No||Link|
|Belgium||Strategies, setting targets||Bullying and sexual harassment prevention||Consultation Arts Organizations (overleg kunstenorganisaties - oKo), CGSP Culture (ACOD Cultuur), LBC-NVK/ACV, The Liberal Trade Union (ACLVB)||Action plan - Prevention of transgressive behavior|| The action plan was developed in 2017 in cooperation with Social Fund for the Performing Arts and the social partners, including the Ministry of Culture. The action plan tackles the problem at various levels.
1. Awareness raising and information:
a) informing employees and organisations about procedures and legal options for reporting and dealing with transgressive behavior,
b) organising a sector day on tackling transgressive behavior.
2. Training programmes:
a) introducing and training confidential counsellors,
b) promoting the idea of having a confidential advisor in most of the organisations to deal informally with complaints related to all psycho-social risks and providing training for them.
3. Providing policy framework and tools:
b) flag system,
c) risk analysis,
d) code of conduct and guidelines.
4. Dialogue with educational institutions.
|Belgium|| Studies, surveys, monitoring ;
Training/mentoring programmes ;
|Bullying and sexual harassment prevention||Government of Flanders||Genderkamer||The Genderkamer is part of the Flemish Ombudsman Service. One of its most important roles is receiving and dealing with complaints about discrimination based on gender, sex, gender identity, or gender expression. It provides assistance to people willing to make a complaint and seeks reconciliation and solutions in line with the human rights framework (international treaties, constitution). Genderkamer carries out research and investigations, publishes reports, provides advice on improving gender equality agendas, conducts awareness campaigns, and provides information on gender issues and training courses.||No||Link|
|Belgium||Taking pledges||Bullying and sexual harassment prevention||Performing Arts Social Fund (Sociaal Fonds Podiumkunsten)||Engagement peer to peer network||ENGAGEMENT is an artist-led movement tackling sexual harassment, sexism and abuse of power in the Belgian arts. It was created in 2017 after cases of sexual harassment came to light in the Belgian dance community. Since then, it has transformed into an organised platform active across all artistic disciplines, doing work in the professional as well as the educational sphere. It offers support to individuals and communities facing transgressive behaviour, discrimination and/or unfair practices in the arts. It also supports organisations willing to create safer and more inclusive working environments. Engagement works through regular online meetings where people can share their experience, collecting resources for employers that could be helpful in creating more inclusive working environments and by organising meetings where people can share their testimonies and by organising training for confidential advisors. By signing the Engagement statement https://engagementarts.be/en/statement, people can show their commitment to a worldwide movement to end harassment, violence, discrimination, and abuse of power.||Yes||Link|
|Belgium||Campaigns/tools||Bullying and sexual harassment prevention||Performing Arts Social Fund (Sociaal Fonds Podiumkunsten)||interculturalisation trajectory sCan&Do||sCan&Do seeks to help organisations in the performing arts and music sector to become more diverse and inclusive. Organisations willing to undergo this four-year process can sign up for this support. sCan&Do is based on a thorough analysis of the organisation with regard to cultural diversity at different levels (personnel, services, audience, communication, network, place, etc.). Together with the Minorities Forum, a tailor-made action plan is developed and the sCan&Do team guides the organisation through implementation but it is the organisation itself that is responsible for the implementation of this action plan. Progress is evaluated yearly and follow-up actions are recommended. The sCan&Do team includes a representative of the Social Fund for the Performing Arts and Minorities Forum and therefore combines sector-specific expertise with expertise on diversity, interculturalisation processes and change management.||Yes||Link|
|Belgium|| Collective labour agreement ;
|Bullying and sexual harassment prevention||Performing Arts Social Fund (Sociaal Fonds Podiumkunsten)||Collective labor agreement non-discrimination||This non-discrimination collective labour agreement serves as a basis for implementing an inclusive policy in organisations in the sector (both public and private entities) by providing a standardised framework and encouraging work on sectoral action plans. It was signed in October 2020. This non-discrimination collective labour agreement is an update of the existing 2005 non-discrimination collective labour agreement. It covers not only core staff but also third parties such as students, partners, and the public. The non-discrimination collective labour agreement has two main focuses: a) inclusivity principles about making workplaces more diverse, b) non-discrimination. There are 19 discrimination criteria mentioned (gender being one of them). The following areas are covered in the agreement: a) equal treatment in recruitment; b) personal development in order to enable new employees from various backgrounds to be promoted to higher positions; c) reporting procedures; d) promoting diversity in artistic expression (not only behind the scenes).||Yes||Link|
|UK||Training/mentoring programmes||Representation of women||Sphinx Theatre Company||The Sphinx test||The Sphinx Test is a playwright tool that emerged in the UK in 2015 from a series of discussions with writers and directors about developing a strategy for expanding womens stage roles. The test is inspired by the Bechdel test for film which prompts gender-aware viewing by asking three key questions: are there two or more named women in the film; do they talk to each other; and do they talk about something other than men? The test is intended to help playwrights, producers and other decision makers to increase female representation on and off the stage and their employment.||No||Link|
|Sweden||Studies, surveys, monitoring||Bullying and sexual harassment prevention||Commission on Sexual Harassment in the Performing Arts||An Opportunity to Create Change||Yes||Link|
|Sweden||Collective labour agreement||Bullying and sexual harassment prevention,||Swedish Performing Arts Association and The Swedish Union for Performing Arts||Collective agreement including Code of Conduct and guidelines for intimacy scenes.||Parties (employers and employees) agreed in a central collective agreement that all employers shall have a Code of conduct and Guidelines for intimacy scenes. To support work on local level the joint counsel on Equality got an assignment to produce tutorials in developing Code of conducts and Guidelines for intimacy scenes. Parties can take the opportunity of getting some advice with regard to the development of the documents. Different approaches are possible. It is important to have a structure on how to approach difficult themes (age, sexual exploitation, race, etc.) when working on them in order not to hurt anyone and in such a way that people feel safe and free to express artistically and be more professional. The most important is to remember that intimacy scenes need careful preparations.||Yes||Link|
|Sweden||Counseling||Bullying and sexual harassment prevention,||Swedish Performing Arts Association and The Swedish Union for Performing Arts||Safe rooms - dialogue||Web based dialogues as a forum to exchange experiences and training in talking about difficult questions in the workplace. We have used a film to start up the discussions, both as a teaser and as a possibility to discuss without using personal experiences. The discussions contains both feelings, behaviour and structural themes. There is no definition of the safe rooms as it is not possible to set rules that fit all groups. Each workplace has to find its own definition. The idea is that the workplace is ideal where people do not hurt each other, feel free, stay in touch with their selves. The safe room is more about a constant process. The notion of the safe room has to be open so that it can be adapted to the changing reality as there is no safe room for all people all the time.||Yes||Link|
|Spain||Surveys/studies/monitoring|| Representation of women;
Equality in decision making
|Clasicas y modernas - association of women working in literature, journalism, music, performing arts, cinema||Equality seasons||Clasicas y Modernas was founded in 2009 with the aim of to implementing organized and interconnected initiatives to achieve equality. MH Equality Seasons was a project that lasted from 2015 to 2018. Its aim was to support the structures for the production and dissemination of performing arts that wish to achieve professional equality for Women and Men in collaboration with civil organisations and to promote compliance with the article 26 of the Equality Law saying that women must have the same opportunities as men in the field of production and artistic creation. The MH Equality Seasons of Classic and Modern was a call for collaboration to achieve a culture of equality and a diverse and inclusive performing art.||No||Link|
|France||Collective labour agreement||Bullying and sexual harassment prevention||All the employers and employeesÂ organizations representative in the live performance sector||Collective agreement on preventing and prosecution of gender based and sexual violence||Given the relatively short career of employees in the live performance sector, specific measures have to be taken to effectively prevent and prosecute gender based and sexual violence. The agreement sets the specific measures about information and prevention of gender based and sexual violence in every undertaking in the sector including subcontractors. The collective agreement is designed jointly by all the employersÂ and employeesÂ organisations representative in the live performance sector. It is not yet signed. Stakeholders are planning to have it signed at the beginning of 2022.||Yes||Link|
|France|| Strategies/setting targets;
|Bullying and sexual harassment prevention||National Centre for Music (Centre National de la musique)||Protocol for accompanying stakeholders of musical sector for preventing gender-based and sexual violence||In place since 1 January 2021. The protocol proposes a set of measures to be used by professionals in the music sector to prevent sexual harassment and sexual violence and some steps on how to deal with such a situation when it happens. The protocol should be respected by the companies and their legal representatives in the sector. By signing the protocol, companies commit to: a) respect the labour code; b) train management and the HR team on the subject of gender-based violence and sexual violence; c) raise awareness, inform, educate, organise and implement a risk prevention strategy; d) create an effective internal reporting system and analyse each report submitted; e) carry out monitoring and evaluation of other actions. Companies must comply with the protocol in order to receive financial support from the CNM (Centre national de la Musique). In reality, this concerns all entities in the sector. The CNM is governed by social partners (they are members of the board) and they have jointly decided to implement this protocol.||Yes||Link|
|France||Strategies/setting targets|| Equal pay ;
Equality in decision making ;
Bullying and sexual harassment prevention
|(FESAC - Fédération des entreprises du spectacle vivant, de la musique, de laudiovisuel et du cinéma) and trade unions representing workers in the live performenrs sector.||FESAC plan for gender equality in the audiovisual and live performance sector||In January 2020 the French performers unions (FESAC) and other trade unions developed an action plan to promote gender equality and prevent gender-based and sexual violence in the live performance sector. This plan consists of the following steps: a) monitoring data on employment and salaries of men and women in the sector, as well as on existing inequalities and discrimination; b) training/integration/working conditions/combatting gender biased representations and stereotypes; c) equal pay and equal access to jobs and responsibilities; d) work-life balance; e) gender and sexual violence prevention. One of the most developed aspects of this plan is the establishment of a counselling service for employees (temporary or permanent) who have experienced gender-based or sexual violence in their work environment. The objective of this service is to support victims mental wellbeing with the help of psychologists, and to provide legal consultation so that victims are aware of their rights. The support is free of charge for victims and is fully confidential.||Yes||Link|
|UK||Studies, surveys, monitoring|| Equal pay ;
Equality in decision making
|Vbain consulting||Counting the Music Industry: The Gender Gap||Counting the Music Industry is a gender gap analysis of over 300 music publishers and record companies in the UK. The analysis reveals that only about 14% of writers currently signed to publishers and about 20% of acts signed to record companies are female. This gap is surprisingly large and suggests widespread discrimination against women in the music industry. The report also looks at the very early steps into music, particularly through formal education. Even though girls participation in music education at all levels has increased over the past number of years, to near equity, female graduates do not seem to be as successful as their male colleagues in starting careers. The report identifies twelve barriers that exist for women wishing to start and sustain a career in music. The report identifies opportunities for further research and concludes with a list of practical recommendations for government, education and music organisations to implement, improve, and ultimately close the gender gap in music, thereby creating a more inclusive music industry in the UK.||No||Link|
|Switzerland||Campaigns/tools||Bullying and sexual harassment prevention||French-speaking Swiss Spectacle Union (Syndicat Suisse Romand du Spectacle)||Safespacesculture||Safespacesculture is a project providing support for creating workplaces and training environments free from harassment, bullying, and discrimination in the cultural field. The resource is open to all employees and self-employed people in the culture sector in the French-speaking part of Switzerland. In order to make this action sustainable and allow associations of professionals and employers and other interested persons to contribute to its development, an association safe spaces culture has been created. The main goal is to offer neutral and free external support in the event of suffering or difficulty in the workplace (psychological or sexual harassment, pressure, etc.). The support is provided by a designated support person who will not only listen, but also suggest preventive measures and indicate means of action. This service will be available to self-employed and freelancers who do not have access to the companys designated support person.||Yes||Link|
|Netherlands||Strategies/setting targets||Bullying and sexual harassment prevention||Art's 92||Fair Practice Code||Arts 92 (Kunsten 92) is the interest group for the entire cultural and creative sector aiming at improving the social and political climate for culture in the Netherlands. The Fair Practice Code is a code of conduct for doing business and working in the arts, culture and creative industry based on five core values: solidarity, diversity, trust, sustainability and transparency. The code invites to a critical reflection and offers guidance on how the sector can achieve a future oriented labor market. Within the Fair Practice Code, there are actually two codes: the Culture Governance Code and the Diversity and Inclusion Code.||No||Link|
|UK||Training/mentoring programmes|| Representation of women ;
Equality in decision making
|Musical Theatre programme at Central College in London||Ladies of the Stave||Ladies of the Stave is a working group that emerged from a series of events aimed at establishing a better gender balance in the music industry in the UK. The working group has tasked itself with identifying and tackling barriers to greater female representation in the pit and on the podium. At present, the group is focusing its efforts on the following themes: Mentoring: Successful female musicians and music directors, by being active role models, can help the younger generation of women to gain confidence in their ability to chart a fulfilling career path in the field. Women in teaching positions invite young female MDs and musicians to gain experience alongside them and encourage them into programmes like the ALWF Associate music directors scheme. Networking: Work for pit musicians and musical directors is rarely advertised. Those in the inner circle whether female or male need to do better at sharing opportunities with young female musicians and emerging music directors. Education: Instructors and students in Centrals Musical Theatre programme are connecting more frequently with music colleges to engage young women who might be interested in a musical directing career path (through talks, workshops and course tasters, with a key selling point being the sheer diversity of the musical directors role, which includes teaching, composing, arranging, and performing). Leadership: A key focus is to help create the circumstances whereby women can truly take the reins in terms of running and directing projects and courses, without male supervision. This culture shift requires advocacy, skill, networking, and above all else, individual confidence. The ultimate aim of Centrals Musical Theatre programme and Ladies of the Stave is to change what is considered normal in the pit and on the podium by engaging both male and female colleagues and sharing stories about more gender-balanced shows that were particularly successful.||No||Link|
|UK||Campaigns/tools||Bullying and sexual harassment prevention||The Musicians Union||Music Sector Code of Practice||Musicians' Union is the UK trade union for all musicians representing over 30,000 members working right across the music industry. MU represents employed and self-employed musicians working in every area of the UK music industry, including music education. The code of practice consists of principles aiming to eradicate bullying, harassment, discrimination and other forms of inappropriate behaviour within the sector. It helps employers to meet their legal requirements as well as setting out a shared vision for promoting and maintaining an inclusive working culture. All employers, employees, officers, workers, agents, students, tutors, volunteers, trustees, and freelancers should adhere to these principles. They are equally responsible for promoting and maintaining an inclusive workplace which is positive and supportive. Up to now, about 50 organisations have supported the code of practice.||Yes||Link|
|France|| Studies, surveys, monitoring ;
|Bullying and sexual harassment prevention||Association of permanent French Orchestras (l'Association Française des Orchestres), Les Forces Musicales||Charter for Gender Equality within Orchestras and Opera Houses||The AFO is a non-profit organisation of 43 professional permanent orchestras. It also provides an observatory and a resource centre. Les Forces Musicales is the French employers organisation of orchestras, opera houses and opera festivals created when the CPDO (Professional Chamber of Operas Directions) and SYNOLYR (French Employers Organisation of National Orchestras and Opera Houses) merged. Based on the outcomes of the AFO's surveys on gender balance in orchestras, its members together with Les Forces Musicales created a document aimed at defending diversity and fighting against all forms of discrimination in the music sector. It started in 2018 and has multiple actions planned for the operational period that ends in 2022. The charter is an important step, as it makes clear that the AFO and Les Forces Musicales are strongly committed to long-term action on achieving gender equality at various levels monitoring of the situation, integration and development of artists careers, representation of women, collective bargaining, and developing support mechanisms and partnerships. The implementation of the gender charter in the orchestras is monitored by a joint committee. The AFO and Les Forces Musicales jointly received the European PEARLE * 2018 prize for diversity and equal opportunities. In line with the Charter for Gender Equality, various initiatives have been implemented including those listed hereafter: a) Regular surveys collecting data on women in the music sector. b) Monitoring of the recruitment procedures for the orchestras. c) Women in the programming are they given serious, high-profile tasks? d) A springboard for young (female) conductors a support scheme for young female conductors who are selected on the basis of applications and invited to conduct the Orchestre de Picardie in public in front of an artistic committee. In addition, they benefit from specific support from the AFO (e.g. help with project definition, artistic interpretation, work on presentation, and communication tools). E) Training e.g. raising awareness of gender equality, preventing gender-based and sexual violence. F) Unanime Rediscovering of female composers from past centuries with the aim of bringing their music back to life and providing support to young female composers.||Yes||Link|
|Netherlands||Counseling||Bullying and sexual harassment prevention||Mores.online Foundation||Mores. Disclosure office for undesirable behaviour in the Dutch cultural and creative sector||Mores.online is the central, collective disclosure office for undesirable behaviour in the Dutch cultural and creative sectors. The disclosure office and the confidential advisors are independent. The disclosure office was initiated by various organisations in the Dutch cultural and creative sectors and is for everyone working in these sectors. A person who is suffering or has suffered from undesirable behaviour: sexual intimidation or abuse, aggression or violence (including intimidation and abuse of power) can email or call one of the confidential advisors and (depending on ones requirements) can get assistance and advice on possible further steps. The maximum response time is one working day, but sometimes it is possible to get a response within a few hours.||Yes||Link|
|France||Campaigns/tools||Bullying and sexual harassment prevention||Ministry of Culture||National plan to fight against gender-based and sexual violence and harassment (VHSS) in the live performance sector|| The Minister of Culture, Roselyne Bachelot, announced that starting from January 2022, all subsidies paid to structures in this sector will be conditional on compliance with a certain number of criteria for the prevention and treatment of sexual violence. This means that in order to receive a subsidy, an applicant will have to fulfil the following requirements.
1. Mandatory training on the prevention of gender-based and sexual violence for managers and human resources departments must be conducted. The employees will then have to update their training every two years.
2. Entities with more than 250 employees must have a designated contact person to deal with gender-based and sexual violence and harassment.
3. Companies are encouraged to distribute an anonymous questionnaire to their employees in order to identify any cases of gender-based and sexual violence and will have to systematically process each report.
4. A specific prevention plan and a code of conduct has to be put in place where an artistic production requires situations of a sexual nature or involving nudity.
|Ireland||Campaigns/tools||Bullying and sexual harassment prevention||Irish Theatre Institute (ITI)||The Speak Up: A Call for Change Report||The Report has been commissioned by ITI to acknowledge a reality that there is a culture of harmful workplace behaviour in all the Irish arts sectors, and a lack of support to tackle this issue. The statistical analysis carried out in this study provided evidence that the Irish arts sector has a significant problem. The research surveyed over 1300 people from IrelandÃÂs arts sector and found that the majority of respondents had experienced and/or witnessed some form of harmful behaviour (bullying, harassment, sexual harassment, humiliation, victimisation, assault and sexual assault) that undermine peopleÃÂs right to dignity at work. According to the report, these situations are more likely to be an accepted norm in IrelandÃÂs arts sector. The report points out that in order to promote dignity at work across the arts sector, meaningful commitment to cultural change is needed to tackle the scale of this crisis. Action, accountability, and further research is required.||No||Link|