00:20:48 Elysia Moore: Just so that you are all aware, we will be uploading this seminar on to the ABTT Website along with any links and resources discussed here: https://www.abtt.org.uk/events-and-courses/abtt_seminars/seminars_july/diversity/ 00:21:07 Elysia Moore: Lucy Kerbel is the Director of Tonic, an organisation that has been supporting the performing arts to achieve greater equality, diversity and inclusion since 2011. 00:21:30 Iain Young: good to see you back Robin 00:23:34 Elysia Moore: Through a broad range of consultancy, training and practical tools, Tonic's engagement with the performing arts is comprehensive and transformative - supporting young people at the outset of their careers, through to advising Executive Leadership of national institutions. You can find out more about their training and consultancy work here: https://www.abtt.org.uk/wp-content/uploads/2020/07/ABTT-PDF-Tonic.pdf For more information on Tonic please go their website: www.tonictheatre.co.uk 00:28:43 Elysia Moore: That's 10 minutes :) 00:29:40 Elysia Moore: If anyone has any questions for our panelists during this event, please pop them into the Q&A box so that they can answer you! 00:31:01 Elysia Moore: Andrew is an arts consultant and broadcaster and has been raising the profile of disability throughout his 30-year career in the UK’s cultural industries. You can read more about Andrew and his work here: https://www.artscouncil.org.uk/users/andrew-miller# 00:34:46 David Evans: Yes fine 00:35:00 Elysia Moore: For those just joining us, Andrew is speaking about the huge challenges for disabled people to engage with live culture as artists, employees and audiences as a consequence of Covid. And which #WeShallNotBeRemoved has been set up to highlight. For more information on We Shall Not Be Removed please go their website: https://www.weshallnotberemoved.com/ 00:35:16 Elysia Moore: Andrew is an arts consultant and broadcaster and has been raising the profile of disability throughout his 30-year career in the UK’s cultural industries. You can read more about Andrew and his work here: https://www.artscouncil.org.uk/users/andrew-miller# 00:36:35 Elysia Moore: A link to the Indigo website below: https://www.indigo-ltd.com/blog/after-the-interval-when-will-audiences-return-to-live-events-and-venues-after-lockdown 00:36:47 David Evans: http://s3-eu-west-1.amazonaws.com/supercool-indigo/After-The-Interval-Full-findings-At-a-Glance.pdf 00:37:10 David Evans: Indigo findings at a glance http://s3-eu-west-1.amazonaws.com/supercool-indigo/After-The-Interval-Full-findings-At-a-Glance.pdf 00:37:48 Elysia Moore: Thank you Andrew! 00:38:08 David Evans: Here is the full report from wave 2 http://s3-eu-west-1.amazonaws.com/supercool-indigo/After-The-Interval-Wave-2-Report.pdf 00:38:12 Sebastian Barnes: Thank you Andrew. Very surprising and disturbing stats. 00:38:21 Anna Edwards-McConway: Thank you very much Andrew 00:38:30 Elysia Moore: Fascinating stuff, if anyone has any questions for Andrew or our other panellists please pop them in to the Q& A Function 00:39:22 Philip Speck: Hi Andrew - Great you see you again - alarming stats indeed... 00:39:24 Elysia Moore: The question to Lucy is: In your book ‘All Change Please’, you talk about ‘greater diversity leading to greater success’ - in your opinion, if we don’t do everything we can to drive change forward within every aspect of our industry, will traditional theatre survive the next couple of decades and be able to compete with Netlfix etc. 00:40:04 Elysia Moore: Sammy Willbourne is talking to us from TheatreCallToAction, currently running the initiative #PullUpOrShutUp 00:40:22 Elysia Moore: #PullUpOrShutUp, is a call to action asking theatres, theatre companies, theatre festivals, theatrical agencies and drama schools to disclose how many Black people they have on their teams. 00:41:05 Elysia Moore: You can respond with your statistics by going to their website. For more information on TheatreCallToAction please go their website: https://theatrecalltoaction.wordpress.com/ 00:41:55 Elysia Moore: You can read the full call to action here: https://docs.google.com/document/d/1-KwDLKmYFJXPLwRh6xoGXvTvXOyYzQw3GlpO0BiaOLY/edit 00:43:18 Elysia Moore: Firstly, they are ask organisations to openly disclose the percentage of the workforce that has been made up of Black people over the last ten years, and how many Black people in leadership roles. 00:43:44 Elysia Moore: Secondly, they are asking theatres, theatre companies, and theatre festivals to do the same with the slate of commissioned playwrights and theatre makers, disclosing how many Black artists are currently on paid commission, as well as the makeup of the creative teams on current projects. 00:44:26 Elysia Moore: Finally, they would like to see information on the actions you have in place or are planning to put in place to make your building or organisation safe for Black people, and what you are doing for your existing Black employees. What will be put in place going forward? How will your pastoral and complaints system work going forward? 00:45:27 Elysia Moore: #PullUpOrShutUp, wish to see full accountability for any under-representation and clear plans for how to change this moving forward. They no longer want to accept lip service or empty promises. Panels or conversations that do not result in genuine changes will also not be acceptable. 00:46:02 Elysia Moore: They want us to recognise taht intersectionality is a vital part of rectifying this. If the script calls for a Black, wheelchair-using performer, it is no longer acceptable to choose either one demographic or the other on the grounds that a suitable performer cannot be found within a limited pool: the pool must be widened until you find a performer who does. 00:46:54 Elysia Moore: We are now joined by Janice Turner is an editor as well as a BECTU Diversity Officer Bectu is the union for creative ambition. They represent over 40,000 staff, contract and freelance workers in the media and entertainment industries. They are currently running the Theatre Diversity Action Plan, which is an innovative approach to tackling the lack of diversity in the theatre workforce.https://bectu.org.uk/get-involved/campaign-theatre-diversity-action-plan/ For more information on BECTU please go their website: https://bectu.org.uk/ 00:47:14 Elysia Moore: Hi Susanna, please could you pop your question in to the Q&A Function? 00:47:48 Elysia Moore: Thanks! 00:48:52 Elysia Moore: The Theatre Diveristy Action Plan brings together more than 130 theatres that have committed to taking practical steps to increase representation of Black and minority ethnic staff in their workforce, the plan has the potential to change the make-up of UK theatre for the better. 00:49:16 Elysia Moore: You can find a link to this Action Plan here: https://bectu.org.uk/get-involved/campaign-theatre-diversity-action-plan/ 00:50:06 Elysia Moore: This Action Plan was developed in association with theatre employers in both the public and private sector, the plan aims to give employers the practical tools to increase diversity across the theatre workforce, from front-of-house teams to backstage staff. The plan includes a guide to give employers the ability to identify what can be done in their own theatres. Steps include: carrying out an accurate assessment of their current workforce, setting targets and improving recruitment processes. 00:51:15 Elysia Moore: This document is also accessible in Welsh here: https://members.bectu.org.uk/advice-resources/library/2680 00:51:37 imran: here 00:51:45 imran: yes 00:52:16 Elysia Moore: Hi Catherine, Could you pop your question into the Q&A function please? 00:52:25 Elysia Moore: This way the panellists can answer you directly :) 00:52:29 Elysia Moore: Thanks! 00:52:52 imran: Please continue 00:53:06 Elysia Moore: If anyone has any questions for our panellists please do pop them into the Q&A Function 00:53:38 Elysia Moore: Hi Ebony, Please could you add your question into the Q&A Box so that our panellists can answr these at the end? 00:54:56 Elysia Moore: Just so that everyone is aware, this seminar is being recorded and will be available on the ABTT Website with captions added, along with any links and resources discussed here: https://www.abtt.org.uk/events-and-courses/abtt_seminars/seminars_july/diversity/ 00:56:20 Sebastian Barnes: Great question, Mig!!!! 00:56:31 Anna Edwards-McConway: Thank you Mig! 00:56:50 Sebastian Barnes: I’m very keen to be a part of theatre branch communications. 00:56:53 Ajay Parekh: Thank you to the panel and ABTT for hosting. Goodnight from Hong Kong. 00:57:23 David Evans: Paul Cockle can you put your questions in the Q and A? 00:57:40 Elysia Moore: hi everyone, please put your questions in to the Q&A function so our panellists can answer at the end 00:58:01 Elysia Moore: There is a Q&A button at the bottom of th screen which you shou dbe able to click on 00:58:05 Sebastian Barnes: Hi Paul C. 00:58:28 Elysia Moore: Please could you add this to the Q&A function please? Thank you! 00:58:31 Janice Turner: https://bectu.org.uk/get-involved/campaign-theatre-diversity-action-plan/ 00:59:15 Elysia Moore: We are now hearing from Ian Manborde - The Equality and Diversity Organiser for Equity Equity is the Union for Performers and Creative Workers. Ian’s role at Equity is to support the work of the union's four equality committees. This work is aimed at improving the bargaining, representation and campaigning activity of Equity in order to secure improved employment opportunities for Equity's diverse membership, and to guarantee good quality terms and conditions of employment. 00:59:16 David Evans: Paul Cockle there is a Q and A button at the bottom of the screen on the right 00:59:34 Lucy Kerbel: Ian is referring to theatrecastingtoolkit.org 01:00:21 Elysia Moore: https://www.equity.org.uk/news/2020/june/equity-response-to-the-roadmap-for-re-opening-live-performance/ 01:00:54 Elysia Moore: Ian has also been referring to theatrecastingtoolkit.org 01:03:45 Elysia Moore: The Equity Roadmap for Re-opening live performance can be found here: https://www.equity.org.uk/news/2020/june/equity-response-to-the-roadmap-for-re-opening-live-performance/ 01:07:28 David Evans: All of the links listed here will be collated put on the ABTT website 01:08:57 Elysia Moore: We are now joined by Zoe Milton. Zoe is the Administrator for the Association of Sound Designers. Zoe supports the members who are all involved in the theatre sound industry, either as professionals, future professionals or just interested parties! 01:09:14 Elysia Moore: The ASD provides a community for UK theatre sound professionals and students, and works to promote theatre sound to the wider industry. For more information on The ASD please go their website: https://www.associationofsounddesigners.com/ 01:10:07 Elysia Moore: If you have any questions for Zoe or for any of our other panellists we will be hosting a Q&A at the end of this session. Please do post your questions in the Q&A box at the bottom of your screem 01:10:14 Elysia Moore: *screen 01:11:35 Elysia Moore: We are now joined by Jai Morjaria. Jai is a Production Lighting Designer working and collaborating with a variety of companies helping to create plays, musicals, opera, dance, ballet, circus, site specific and event performance lighting. 01:11:48 Sammy: The RADA document is really thorough. The students did an amazing job. It shouldn't have been up to them, but they really knocked it out of the park. I just hope they keep to it. 01:12:18 Elysia Moore: Created by the Students and Staff of the RADA Lighting Department in June 2020 this is the RADA Anti-racism and Allyship in Stage Lighting Design Document: https://www.dropbox.com/s/zu2nbz70tb5c5cz/Anti-Racism%20and%20Allyship%20in%20Stage%20Lighting%20Design%20V0.pdf?dl=0 01:13:02 Elysia Moore: Jai is also a representative of the Association of Lighting Design. For more information on The ALD please go their website: https://www.ald.org.uk/ 01:14:40 Sammy: Did you lot get paid????????? 01:14:46 Elysia Moore: Love to hear from you Sophia if you could resend :) 01:14:57 Sammy: Because you should have been paid for that document. 01:15:09 Jennifer Perault: There is an overall anti-racism action plan created by RADA students which addresses the issues all areas 01:15:15 sunita hinduja: I would really like to see an alternative to BAME moving forward - please. 01:15:30 Sammy: Yeah, we need to throw BAME in the bin. 01:16:35 Elysia Moore: We are now joined by Emma Rees. Emma is currently the interim Executive Director of Theatre Centre, before which she was working as a freelance consultant with a number of organisations including Chichester Festival Theatre, Kiln Theatre and the London Theatre Consortium (LTC), where she remains the strategic lead on the LTC Apprenticeship Programme. Emma is also a Stage Sight representative. Stage Sight’s vision is to create an off stage workforce that is more reflective of our society today, inclusive of ethnicity, class and disability. It’s free and simple to join Stage Sight. 01:17:17 Elysia Moore: To be part of Stage Sight, you should actively pursue initiatives which help to create an off-stage workforce that is reflective of our society. You can find out more about Stage Sight here: https://www.stagesight.org/how-to-join/ 01:17:17 David Evans: https://www.stagesight.org/ 01:18:35 Jai Morjaria: Hi Chris, Yes! Please share to as many people as you wish. I fully encourage every department to generate their own action plans! 01:18:48 Elysia Moore: In regards to the RADA Document discussed by Jai, I have just been updated that this document was used to help create a larger document recently for RADA, specifically contributing to the lighting section which is one page in the 100 page document. https://twitter.com/radastudentc20 Much information on this twitter account 01:19:10 Elysia Moore: Thanks Sophia, really good stuff! 01:19:42 Skoopiz3: Sadly non of this is new to those affected. These concerns will soon be taken over by something else. BAME personnel, for example, have heard all of these promises before. Covid has just made everyone pause for a while to allow for these discussions to take place. 01:20:22 Sebastian Barnes: @Anna Edwards-McConway please check the BECTU site, https://bectu.org.uk/search?s=disability and in the Resources section once logged on as a member. 01:20:26 Elysia Moore: You can find out more about these initiatives here: https://www.stagesight.org/initiatives/ 01:21:23 Elysia Moore: Stagesight Resources can be found here: https://www.stagesight.org/resources/ 01:21:28 Jai Morjaria: Thanks Sophia. Thank you for sharing the extra resources. 01:21:59 Elysia Moore: and there are some amazing case studies on what other people are doing here too: https://www.stagesight.org/case-studies/ 01:22:51 Elysia Moore: If anyone has any questions for Emma or any of our other panellists please do pop them into the the Q&A box at the bottom of your screen 01:23:56 Elysia Moore: Stage Sight’s vision is to create an off stage workforce that is more reflective of our society today, inclusive of ethnicity, class and disability. These roles can be anything from stage management to theatre technicians to members of the creative team. Stage Sight showcases good practice and success in this area. We are a collaborative network that is open to everyone and free to join. As mentioned, they ask members to commit to making a practical change and to share their progress and learning. They also raise awareness of the need to achieve a more balanced off stage workforce, and we encourage practical, simple steps to achieve this. 01:24:32 Elysia Moore: Stage Sight offer a range of resources which include: - A comprehensive list of our members’ initiatives, detailing the practical changes they are implementing - A collection of case studies offering evaluation on projects for you to learn from - Networking opportunities with other Stage Sight members - Access to guidance documents 01:25:35 Elysia Moore: 20 mins left guys and 8 open questions 01:26:41 Elysia Moore: The ABTT has been putting together some relevant resources and initiatives based on this topic. Our Diversity and Inclusion in Theatres Resources can be found here: https://www.abtt.org.uk/resources-guidance/covid19/diversity-and-inclusion-in-theatres/ We will also be uploading this seminar with captions on to the ABTT Website along with any links and resources discussed here: https://www.abtt.org.uk/events-and-courses/abtt_seminars/seminars_july/diversity/ 01:27:37 Elysia Moore: If anybody would like to see the recordings or resources from some of the other Seminars the ABTT has produced so far this year please do take a look here: https://www.abtt.org.uk/events-and-courses/abtt_seminars/seminars_june/ 01:28:07 Elysia Moore: You can join Stage Sight here: https://www.stagesight.org/how-to-join/ 01:28:38 Elysia Moore: Questions that have been asked and answered so far include: 01:29:02 Elysia Moore: To all panelists - If you could outline a plan of action for young theatre creators wanting to be diverse throughout , what 5 main bullet points would you suggest to follow? Sammy 02:35 PM I think the main thing is defining diversity properly. Also, as an artist, if you're creating art that centers a particular community, get as many people from community in your room, including backstage workers. If you are making a piece that interrogates trauma and oppression of a particular group, make sure there are resources/people on board for wellness, offloading and interrogation, making sure everyone's got support through difficult pieces. Think about the piece in terms of its access too, is it accessibility for all the 5 senses? Have you thought critically about sensory overload? Another thing is, when you see a piece or a particular organisation isn't being diverse. Call it out and call it out loud, which is the hardest thing, but I promise you, it's worth it. 01:29:47 Elysia Moore: Do equal opportunity forms ever include questions on families 'means'? i.e how many applications for arts roles are from lower income families? or even more exploration in terms of applicants education? i.e Grammer school, State school/Academy, Private school? It would be interesting to see more direct engagement from the theatre industry with the pre-18 education sector, surely diversity and inclusion should be encouraged from a young age to all? Especially focusing on technical theatre roles. Sammy 02:37 PM Massively! I definitely don't see this as often. Some initiatives or programmes have done in the last 2 years and the funding emergency packs for corona, have had it sometimes, but it's really not done. Some of that is because the characteristic of class and income isn't protected in the Equality Act of 2010, so places don't think they need to include it or interrogate that. Also interrogating the "Where did you go to school?" aspect would highlight the class disparity way too 01:30:26 Elysia Moore: To all panelists - I have notice in the theatre industry that people that come from a minority (whatever the diversity facet, ethnicity, religion, gender, disability etc) feel like even though they got their “foot in the door”, they then don’t feel included in the organisation. What do you think about that? Sammy 02:49 PM I think this is a massive thing, with jobs and programmes. If you, as a minority, go into a building or institution that is predominantly white, you will never feel welcome. It also makes you question whether you actually belong? Whether you got the job on merit? These are all things we think about. I've definitely been on programmes where it's supposed to be empowering and then I've looked at head offices and they're all white. An open door to a disempowering space is still disempowering. 01:30:55 Elysia Moore: To all panelists: Hello! Do you have any advice for increasing diversity in recruitment and appointments whilst not toeing the line of positive discrimination? Sammy 02:40 PM Hey! Thank you for this question. I think this honestly comes down to thinking and reflecting really deeply about why that person go the job. So many Black and Brown people have imposter syndrome, and feel they don't deserve the jobs they get, the rare times they get them. I think it's making sure experience comes into play honestly. Education/Qualification can be tricky. It should be a part, but it definitely can then leave it open to more privately educated people getting even more jobs. It's really knowing why that person got that job, and whether they want to share that or not. But I definitely think the percentages are still so disproportionate. 01:31:25 Elysia Moore: To all panelists: A lot of what has already been discussed is talking about how to get more diverse people into the theatre industry - what are the steps for making theatre spaces safer and more inclusive once a more diverse collective are included? Sammy 02:42 PM This is honestly about putting the right people in the right places honestly. It's knowing exactly who should be in that room for that project. I think mental-health specialists, and experience facilitators from those communities couldn't hurt either. It would mean everyone would be supported and would feel the space is safe to air things out. Having a different creating model, for example devising would be a shout too, as it puts everyone on the equal playing field and opens up to group problem solving and questioning. 01:31:51 Elysia Moore: Janice - thank you for working within BECTU on disability issues, amongst others. Can you explain how a BECTU member might go about finding advice on disability issues at work? Janice Turner 02:55 PM It depends on the issue. If it’s about the place where they work then they can speak to their rep or their union official. For more general issues not connected with their own workplace they can contact the union’s disability committee via info@bectu.org.uk. 01:32:15 Elysia Moore: Janice - do you have figures for how many people who received work through the scheme, retained that work? ie. was this the start of a career in theatre or was it just a one off? Janice Turner 02:57 PM The people who got jobs had done so by responding to vacancies so hopefully that would be the first rung of the ladder. We didn’t have figures for how many got the jobs. We can ask the job centre how many applications went forward but they went to different theatres. 01:32:37 Elysia Moore: Are there disciplines that statistically perform better in terms of inclusion and diversity? Sammy 03:01 PM I honestly don't think so. It's a pretty across the board problem. But I hear musical theatre is a little bit more inclusive, especially of class. 01:33:07 Elysia Moore: In a room largely full of technicians, and talking as someone who has recruited heavily for technical apprentices in order to try and address some of the imbalances and been out and about with Inspiring the Future and Open Door (for technical discliplies), and given that most NPO's positive diversity statistics are driven by zero hour contracted low paid roles (like ushers). What do the panel see as realistic, impactful actions we can take as individuals within organisations to challenge the industrys lack of diversity, specifically back of house? Sammy 02:46 PM I honestly think this comes down to making more levels. For example, the senior level. As you say, companies can sort oof glide past the diversity thing by having low-paid workers from marginalised communities in lower level jobs. As much as we need everyone in a building to help it run, it's still a very interesting prioirty. This definitely goes back to having conversations with boards too, so they can facilitate this even bet 01:33:34 Elysia Moore: One of the main barriers to increasing diveristy in the arts is that the industry is yet to provide stability to its freelancers. So if you come from a working class background you are less likely to take up a career in the arts as you cant afford to not have a regular income. If organisations want to attract a more diverse workforce there needs to be better pay packages to provide stability. Sammy 02:50 PM Massively! Such an important point. This whole pandemic has proved that the way we are working is not sustainable at all. We need to get a massive pay rescue and figure out how to tackle all of this and achieve a better percentage of marginalised workers in salaried jobs. 01:33:47 Elysia Moore: I think BECTU members in the main houses have created the problem by excluding BAME members over the years from recruitment. I think BECTU has a lot of responsibility as do the drama schools and the major national companies. Once you sort those three area with a cohesive recruitment policy that positively discriminates then you might get somewhere. We firs addressed these issues more than 30 years ago. Janice Turner 03:13 PM Theatre managements are ultimately responsible for the lack of diversity among their staff which is why the union created the Theatre Diversity Action Plan, to address this. It was endorsed by the governing committee of Bectu’s arts & Entertainment division which organises theatres and we hope it will result in progress for all the theatres who have signed up to it, including the national houses. 01:35:17 Elysia Moore: Hi Panelists, please could some of you view the Q&A function as some of you have some direct questions you may be able to answer. Thank you :) 01:37:38 Martin Hunt: At Wales Millennium Centre we are working with Cardiff and Vale College on a creative qualification for 14-16 year olds , based 50% at the venue 01:38:14 Elysia Moore: More questions coming in. Please see questions and answers below: 01:38:24 Elysia Moore: Hi Sammy are the break down responses that you receive collated to share with the public like @pullupforchange do? Sammy 03:13 PM They are, we've got a blog at the moment, I'll send you a link! https://theatrecalltoaction.wordpress.com/ 01:39:13 ben stephen: Inspiring the Future - become ambassadors and go into any school that shows a glimmer of interest (they are doing virtual sessions) and sell the possibilities. 01:39:30 Elysia Moore: Your point on the Equality act not including these questions is facinating. It makes you wonder why institutions aren't going out of their way to make a point of asking these questions?! If they dont like highlighting the clear class disparity of their employees then they should really be asking themselves why they are uncomfortable with the results and what can they do to improve the results. 01:39:56 Elysia Moore: Sammy 02:54 PM Very much so! A lot f orgs got in touch to say "We don't have data on class. But we will be collecting it from now on." It's like ???? If you've had working-class work, should you not have the data? you're earning money from us. But if they're not asked, they just avoid it. Which is a massiive problem. Honestly, if we were really honest about the class representation... Their heads would explode. They'd have to do so much inner-work. Plus a lot of artists think that being from a higher class, is not a form of privilege, which is a huge problem. they feel that the extra money they have through their family doesn't affect them positively at all. for them to acknowledge their privilege is to apparently undo their whole CV. Which is so far from the truth. 01:40:32 Elysia Moore: To Jai, thanks for the presentation. You mentioned about the lack of representation of world theatre in the technical theatre curriculum (lighting), does ALD have any strategies/initiatives being developed/discussed on this? Jai Morjaria 03:11 PM Hi Trent. Thank you so much for the message. We don’t currenlty have a strategy specifically addressing this. At the moment we are looking at ways to equally recruit, however I am writing an article for the next ‘Focus Magazine’ addressing this with some BAME history of light that you are welcome to share and research further. We are also making a page on our website with resouces to help address the wider BAME issues. 01:41:00 Elysia Moore: Hi there. What initiatives are in place to engage with communities to increase understanding at a younger age? The greatest challenge I have encountered has been an interested young person who is put off theatre production as a career by their parents. Sammy 03:08 PM You can definitely check out Company 3's work. They are a youth organisation, that specialise in devised theatre. Many of their alumni stay in acting or go into different roles within the arts or other fields like politics. I'd definitely say it's getting into schools. Even for a term, or even theatre trips when we're all safe and backstage tours. Zoe Milton 03:09 PM Hi Gareth, I’ve been really impressed by inspiring the future of theatre, I’ve done a couple of talks for them. 01:41:31 Elysia Moore: Thank you all. I often combine my hobby of youth work with helping young people get work experience in more practical jobs. I have found that some families are less supportive of careers in a industry that they don’t understand, understandably this family / community voice is very important in taking opportunities further. Is there anything we can do individually help open up particularly the backstage world to wider communities not just the young person looking at an arts career? Sammy 03:21 PM I definitely think social media could come into this. It has a massive amount of reach when done right. If you're wanting to target not just young people, it's definitely worth commenting on social media. I think also asking all your networks as well. Getting mailing lists can be a good way to reach out as well. 01:41:45 Elysia Moore: 5 minutes left 01:42:22 Elysia Moore: As a technical theatre student in a drama school, the lack of diversity is staggering! I want to get involved with the National Theatre HR department work placement to learn more about diversity and inclusion, is this a good practical thing to do? Sammy 03:19 PM Definitely. But don't let them curtail you. Call stuff out if you see it. Make them really interrogate themselves. 01:42:38 Elysia Moore: how do we tackle the issue of not enough people of colour coming into the indusry particulary backstage work? should we be starting to work with schools more? Sammy 03:19 PM I definitely think so, we should be starting with school and education and what is available workwise for young people. Targeting them for education is so important. 01:42:58 Pluribus: I feel in the theatre industry there is definitely more focus on the Diversity part and les on the Inclusion part right now 01:43:14 Elysia Moore: Language! A useful breakdown of language that is considered useful and positive to use in recruitment. I recently saw someone digitally told off online for using the term BAME to describe that particular group so I'm now questioning if this is offending a group of people? Jai Morjaria 03:23 PM Hi Pip, Thanks for your question. I need to update the way that I use my language as well. I came across this article the other day. https://civilservice.blog.gov.uk/2019/07/08/please-dont-call-me-bame-or-bme/ I hope it helps, Jai Sammy 03:23 PM I think that's honestly individual. It's not offense to me, but it's not helpful either. I honestly see it as White and everyone else. That's what BAME does. It just lumps everyone non-white in the same group. I can see why someone would find that offensive. but it's really not specific enough. We need a different term ift here needs to be one but there's definitely nothing wrong with just calling people what they are? and calling them their community identity? 01:45:31 Elysia Moore: The following questions have been asked and we hope to answers after the seminar: 1. In your book ‘All Change Please’, you talk about ‘greater diversity leading to greater success’ - in your opinion, if we don’t do everything we can to drive change forward within every aspsect of our industry, will traditional theatre survive the next couple of decades and be able to compete with Netlfix etc 2. We offer training for environmental management in the creative industries. The job centre connection is a great idea for jobs! Is there a similar connection that can be made for bring training opportunities to broader communities? 3. Can individuals who are not freelancers sign up to Stage Sight but not sign on behalf of their organisation? 01:46:07 Elysia Moore: 1 minute guys... 01:46:27 Elysia Moore: 4. As a costume supervisor, would a site such as stage site for example help me find BAME costume assistants? I often have to employ people at short notice for a couple of days work and end up always just using my small pool of people i already use 01:46:44 Elysia Moore: 5. What are peoples thoughts on the recruitment process for backstage work often not actually being a process but via recommendation, and who you know, how is it possible to change this practice? 01:46:51 Philip Speck: More long term, sustained, initiatives that take place in high schools are needed - I'm sure most of us here 'got into' this at some point during school - but are the facilities there anymore? Are they there in disadvantaged areas? Are the facilities accessible? Combine this with subjects being pulled from education (GCSE/A-Level) and it is beginning to have a considerable effect - resulting in under representation in diversity and for disability in our area (backstage) of the industry... 01:46:51 Emma Rees: Any individual is welcome to join Stage Sight (but ask your org to as well!) 01:47:03 Elysia Moore: 6. As an ex Theatre Stage Manager I have worked for last twenty years as Show Caller in Events & Corporate. Many Technicans are Black and Asian...(many many Graphics & AV Crew) BUT there are several Production Managers and Crew Bosses who Asian.......so maybe we are more diverse on our side? Hearing about "Theatre" and you sound a bit behind the times. 01:47:51 Elysia Moore: 7. Re: Stage Sight/Tonic/Equity/Bectu - Do your partner organisations and those who use your contracts or those you run workshops for have to commit to taking the advice you give on recruitment of staff and Board etc and what happens if they do not? I worry if not that you end up continuing the cycle of not demanding change via the leverage you have. The problems are systemic and have always been there, I’ve experienced them since 1998. There have long been Black, Brown and others marginalised who are technicians, sm’s etc and we’ve been blocked continually or been kept in roles at mid-management. We often live our existense in this industry via iniatives and thats not a solution to create sustained change. 01:48:06 Elysia Moore: 8. I noticed that whilst in FE for a short time I noticed the theatre based Production Arts course was practically all white, whilst Music Technology was 100% BAME students. Many similar skills but a clear division at 16. How do we challenge this? 01:48:26 Elysia Moore: 9. are there any initiatives to encourage people with disabilites into the backstage industry? 01:48:42 Elysia Moore: 10. Hi, I think its really important (as someone has said) to employ, acknowledge and therefore take care of people from diverse backgrounds. How would you recommend acknowledging someones diversity upon employment? this can sometimes be seen as an ‘elephant in the room’ scenario and can make employers embarassed. 01:48:59 Elysia Moore: 11. For Janice or anyone else that can answer: how does the support for diversity in the industry vary in other countries compared to the British support? 01:48:59 Ebony Montague: I believe the issue with BAME is that it is used as a 'catch all' term for anyone that isn't White British (which therefore includes White Other Nationality) and is not reflective of the different experiences and issues faced by these communities. BAME is often used in data collection, but as Sammy mentioned before it's not a truly reflective percentage, and if we delved further and broke stats down to Black, Asian etc., organisations would realise their disparities and actually be encouraged to make change. 01:49:10 Sebastian Barnes: @Adam H; I’ve also seen an acceptable level of Black and Asian workers in Event and Corporate. Most I see are freelance media and AV workers, rather than core theatre staff. 01:49:18 Emma Rees: Agree on the longer term, sustained initiatives in schools - a longer conversation but vital the young people see work, see how it’s made and can get involved - not just with a view to a career in the arts but transferable employability skills etc 01:49:37 Paul Graham-Bell: Industry associations such as ALD, ASD, ABTT, SMA should make resources such as Focus magazine open to students at the time when career decisions are made (14-18). Schools and FE colleges are the gateways to the industry. 01:49:37 Elysia Moore: We will be answering these questions after the seminar finishes and they will be posted on the ABTT Website here: https://www.abtt.org.uk/events-and-courses/abtt_seminars/seminars_july/diversity/ 01:49:42 Jack Dale-Dowd: Thank you to all the panel, really good discussion and information 01:49:45 Jasmine Williams: That was really, really amazing, thank you all! 01:49:47 Sammy: Thanks so much guys! This was lovely, let's keep in touch??? 01:49:51 Rebecca: thank you so much 01:49:55 Sebastian Barnes: An excellent and stimulating webinar, raising as many questions as was answered. 01:50:08 Pluribus: Thank you so much everyone! 01:50:08 Ian Manborde: Thanks everyone - a great seminar! 01:50:14 Seth Warren-Crow: Thanks for all the great work and ideas from USA (texas)! 01:50:16 Julia Reid: Thanks very informative. 01:50:26 Elysia Moore: The ABTT has been putting together some relevant resources and initiatives based on this topic. Our Diversity and Inclusion in Theatres Resources can be found here: https://www.abtt.org.uk/resources-guidance/covid19/diversity-and-inclusion-in-theatres/ We will also be uploading this seminar with captions on to the ABTT Website along with any links and resources discussed here: https://www.abtt.org.uk/events-and-courses/abtt_seminars/seminars_july/diversity/ 01:50:37 emma cameron: Thank you everyone. 01:50:39 Elysia Moore: If you are interested in finding out more about the ABTT please do take a look on the Website here: https://www.abtt.org.uk/join-abtt We are always interested in having new members and there are plenty of ways to get involved! Do get in contact if you wish to find out more or have a look on the ABTT Website here: https://www.abtt.org.uk/get-involved/ The ABTT is a charity and the work we do is always to try and better the Industry we work in. If you would like to donate to our organisation you can do so here: https://www.abtt.org.uk/get-involved/donate/ 01:50:40 tom: Thank you! 01:50:49 Jon Armstrong: Thank you everyone. 01:51:02 Elysia Moore: If you would like to see the recordings or resources from some of the other Seminars the ABTT has produced so far this year please do take a look here: https://www.abtt.org.uk/events-and-courses/abtt_seminars/seminars_june/ 01:51:07 Marec Joyce: Really inspiring session, Thanks you to all! 01:51:37 Elysia Moore: As mentioned we will be uploading this seminar with captions on to the ABTT Website along with any links and resources discussed here: https://www.abtt.org.uk/events-and-courses/abtt_seminars/seminars_july/diversity/ 01:51:42 Nicky Rowland: Thank you everyone - really interesting and inspiring. 01:51:59 Elysia Moore: If you are interested in finding out more about the ABTT please do take a look on the Website here: https://www.abtt.org.uk/join-abtt 01:52:00 Sammy: Please do! Our email is theatrecalltoaction@gmail.com. Let's all stay in touch. 01:52:12 Jude - Technical Director - Leeds Playhouse: Thank you 01:52:16 Jai Morjaria: Feel free to get in touch: jai@jaimorjaria.com 01:52:17 Pluribus: How can we get in touch with the panelists? 01:52:19 Philip Speck: Thanks all 01:52:25 Elysia Moore: Please email the office@abtt.org.uk 01:52:31 Elysia Moore: for contacting panelsts 01:52:34 Jennifer Perault: Thank you