Black / Asian backstage careers (dialogue)

Dialogue with Dr Iona Jones, researcher for Guildhall/RSC, about initiatives to promote BME engagement with backstage careers:

From: Iona at Imagine [mailto:[email protected]]
Sent: 18 November 2008 15:14
To: Julian Bryant
Subject: Young people and technical theatre roles

Hi Julian

I have been given your name by Stuart Calder from Guildhall as someone who might be able to help. Please forgive this long email. Hopefully you’ll find it worthwhile reading by the time you’ve finished it!

I am currently providing consultancy to the RSC on its Race Equality Action Plan. Last year I carried out research which looked at what drama college technical courses are doing to attract more minority ethnic students. You very kindly responded, along with a number of colleges, and talked about projects Rose Bruford has been working on trying to address this problem.

In the research I also asked the BECTU Black Members Forum Chair and Black and Asian theatre companies for their opinions. Their views on the barriers experienced by minority ethnic young people were as might be expected:

· cost, location and the cultural make up of the institutions

· lack of available information in schools and colleges about technical theatre roles

· careers advisors lack knowledge of the production process and the roles vital to creating theatre

· technical roles are often seen as ‘you couldn’t get an acting part in the production’ rather than the first choice for young people

· many theatre stage crews learn on the job and there is no formal training

· drama schools do not always take positive action to encourage applications

· stereotype of the arts and that theatre is only for white people

· many technical jobs within British theatre are obtained on personal recommendation and word of mouth

In April 2008 a number of staff from the RSC and from Guildhall met to discuss how to encourage more minority ethnic young people to see technical theatre as a job. At the meeting we talked about concerns that many tutors and careers advisors do not know about theatre roles and that they need a better understanding of what’s available and what routes there are for young people. We thought that a conference might be useful way to tackle this lack of knowledge.

Stuart tells me that you have been working on the Theatre Futures initiative and that your experiences might inform the conversations. I wondered if you would be willing to share some of your ideas with us, first of all on paper and then, if you are able, at a meeting in London at a future date. I will be happy to share the findings with all those who contribute to the research.

If you are happy to be involved in this research, please answer the following questions:

Kind regards

Iona Jones

Dr Iona M Jones

Imagine Associates

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From: Julian Bryant [mailto:[email protected]]
Sent: 25 November 2008 18:59
To: ‘Iona at Imagine’
Subject: RE: Young people and technical theatre roles

Hi Iona

Thanks for the enquiry. While we’ve done better with recruitment recently, I still don’t think we’ve really cracked the issue of BME backstage/technical engagement yet, though we’re working on it. Regarding performers, It feels like we’re finally getting there – after about five years of concentrated effort on a range of initiatives, including those outlined at www.theatrefutures.org.uk/community-outreach .

I agree with many of the points raised by Bectu: and perception being all. For what it’s worth, my major thought is to try to reframe the whole idea of theatre and performance to include a wider set of definitions; including combined arts, carnival, street performance, music theatre in a very broad sense; digital performance; writing including poetry, slam, rap, and stand-up etc. Theatre needs to be perceived as an emerging form rather than an interpretation of a tradition, which is now strongly informing our ethos as an institution. It is therefore permeable for students from diverse, and mixed, cultural traditions: a range of heritage is there as a strength. It follows from this that we should not see young people as ciphers to be written on, but as active participants and contributors to their own learning; and as artists who have a perspective to contribute. Technical training is different to performer training in that the cultural content is less apparent; both in course title and in curriculum. It LOOKS as if it is culturally neutral, but isn’t.

The problem with the questions is that we are dealing with ‘soft’ outcomes here, trying to change an ecology. I’m not sure it is possible to identify sure-fire winner initiatives yet. It feels like what success we have is due to the efforts of others; by the same token we hope others benefit from our efforts

A brief list of some of our initiatives:

• Student support
• Established BME student forum, lead by black governor. Re-titled Diversity forum (but still regarded as lumpy and not so cool)
• Student diversity officer on college committees
• Use of bursaries targeting lower income students
• 3 yr research project, symposium on intercultural performance.
• Partnerships with diverse range of theatre companies, most notably Pan Arts.
• Workshops and lectures from companies and individuals.
• Lectures from Black practitioners
• Recognising Black alumni with fellowships
• Develop list of contemporary classics that speak to 21^st century concerns – much black writing represented.
• Lighting project on gel colour and skin tone.
• Exploration of diverse music traditions
• Curriculum reform
• Inclusion of more contemporary text / new writing
• Contextual studies to explore equality and diversity issues
• Encouragement of student-centred projects
• Funds for student projects associated with ethnicity (curricular and voluntary)
• Develop list of visiting professionals to include black practitioners
• Audit of curriculum content
• Outreach projects
• Progression agreements and partnerships with FE colleges
• Involvement with TiE company projects
• Using alumni to create projects in partner schools with diverse demographic
• Development of collaborative projects through aimhigher
• Recruitment
• Audit of publicity material to ensure images are diverse
• Audit audition/interview procedure to ensure wide range of cultural capital accepted
• Efforts to reduce middle-class bias in criteria
• Efforts to reduce cost to applicant (regional centres and workshops; review audition charging)
• Academic staff working with FE partners

Hope this gives a flavour. I think the solution is probably systemic, and takes time to develop. Happy to talk if you want to know more

Best wishes

Julian

From: Iona at Imagine [mailto:[email protected]]
Sent: 26 November 2008 12:08
To: Julian Bryant
Subject: RE: Young people and technical theatre roles

Hi Julian

Thank you so much for this very helpful response. I really appreciate the time you’ve put into it. I particularly like your point about theatre being an emerging form rather than imposed tradition.

When I’ve collected all the other responses and written it all up, I’ll definitely let you have a copy. I’ll also let you know what actions will follow and invite you along.

Kind regards

Iona

Dr Iona M Jones

Imagine Associates

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From: Julian Bryant [mailto:[email protected]]
Sent: 26 November 2008 18:17
To: ‘Iona at Imagine’
Subject: RE: Young people and technical theatre roles

Thanks Iona.

Would you be happy for our exchange to go on Theatre Futures as a post? It feels like there is valuable information there to share.

Best wishes

Julian