In the '80s, Bob Dylan–of all people–sang about the decline of unions and noted that a lot of that decline was due to decisions made by union leadership, not corporate America. With the recent shakeup of the AFLCIO and IATSE's decision to stay with the old guard, we can't help but wonder about the future of the union for production pros. Dan Daley addressed this in The Biz column back in September, but when we read it, we realized we were left with questions that only the union brass could answer. –Ed. There was a time in America when unions were an integral part of working life. In 1960, nearly half of U.S. workers were union members; by the turn of the last century, union rolls had declined to less than 14%. The reasons are varied, but underscore a major transition in the American workplace, much of which is due to technological changes. That's especially acute for those working in theatrical, lighting and audio domains, where the technology advances are critical and relentless.
How acute was indicated over the summer, during the AFL-CIO's annual convention in Chicago, where long-simmering disagreements within the organization's ranks ultimately saw four unions that represent about a third of the 13 million union workers who are in the AFL-CIO–and who pay about a third of the dues to finance the federation's $120 million annual budget– fracture ties, asserting that the AFL-CIO leadership has failed to stem a steady decline in the percentage of workers represented by unions and that new leadership needed to take charge.
Among the approximately 50 unions remaining with the AFL-CIO is IATSE, the organization that includes theatrical workers. (Specifically, the union's five divisions are Stage Craft, Motion Picture and Television Production, Organizing, Trade Show & Display Work and Canadian Affairs.) Tom Short has been president of the union since 1994, and in July at the convention, he was elected to the position of a vice president on the executive council of the AFL-CIO. He faces serious issues as technology continues to change the landscape of live entertainment and performing arts. Here, he also faces much of his constituency: the readers of FOH, who are in the vanguard of that change.
Why did IATSE choose to remain aligned with the AFL-CIO, and what are the implications of that decision for those who work in stagecraft? What's going to change? Or not?
Tom Short: It's in the best interests of the membership of the IATSE to remain within the AFL-CIO. Within the last decade, the IATSE locals have aggressively organized all facets of our industry. We've increased our jurisdiction and expanded our membership and will continue to do so. Our affiliation with the AFL-CIO has supported us in that growth and will continue to support us.
What are the big issues facing those in the technical theatre arts and sciences today, in your opinion?
The race for new technology is a challenge to the IATSE locals to increase the skills of our current members and future members. Winning this race means keeping more jobs in North America. To this end, IATSE has joined with ESTA [Entertainment Services Technology Association] and USITT [the United States Institute for Theatre Technology]. Both organizations aid us in keeping ahead of the technology curve.
When I talk to those working small theatre and tours in various parts of the country, I find some animosity towards unions in general. Not surprising, given the precipitous decline in union membership in general in the last 25 years. But even more, I find an indifference, one I think is born of lack of information. People are aware of major issues, such as health care (or lack of it) and so on, but there's a disconnect between that and how a union can make a difference.
There's been an anti-union propaganda campaign going on for the last four decades. It was the labor movement that brought pensions and healthcare into the workplace. Any worker, unionized or not, owes these benefits they enjoy to the labor movement. So this is a matter of educating people in these areas of how unions, especially the IATSE, have contributed to the growth of the North American economy and the well-being of all workers in North America.
What are your plans for an outreach to the non-unionized staging industry?
There are more than 400 IATSE locals in the United States and Canada. The IATSE gives the locals the tools, and they reach out to people working nonunion in the industry. Workers are shown the wages and benefits that could be theirs, that should be theirs, but must be won through organizing and collective bargaining; wages, benefits and working conditions. It couldn't be clearer than that. Wages and benefit numbers do the best talking. So do my membership numbers: the IATSE membership has increased from 65,000 to 105,000 in the last 10 years. The IATSE and its locals will increase these numbers in the next 10 years.
Technology is driving the theatre industry. more universities and colleges are increasing the funds spent on new rigging, lighting and sound technologies to bring their fine arts and theatre arts programs into the digital age. This is welcome and long overdue. What kind of technology initiatives is IATSE contemplating for the future? And what kinds of educational initiatives will the union undertake to interest more young people to regard stagecraft as a viable career choice? (And perhaps grow membership rolls in the process.)
Every time a kid puts a DVD into the DVD player, he or she sees the work of IATSE members in this industry. Our people are the people making all the magic. The IATSE locals do reach out to young people and the college students learning our field. Plus, many IATSE members are the very people teaching in colleges and universities in North America. For example, the best educators of scenic, lighting, sound and costume design on campus are members of one of our locals, the 3,000-member United Scenic Artists.
We favor a highly skilled and progressive union work force. Entertainment is one of North America's biggest exports to the rest of the world; we have to stay up-to-date to compete globally, which is why our affiliation with ESTA and USITT is important. IATSE members are the most highly skilled in their fields and will stay up-to-speed as new technologies are introduced.
Our members are staying ahead of the technology curve. Our members educate themselves on the new technology to increase their skills and value to the industry. For example, our animation local regularly addresses the changing technologies of CGI. The cinematographers guild and editors guild learn new technology almost every day. Sometimes we get state support for education. Our L.A. animation local received state education funds for retraining members from traditional animation to computer animation.
Technology-oriented workers often perceive unions as irrelevant and anachronistic. However, there have been some union organizing successes in Silicon Valley in recent years. How can unions change the perception and reality of their relevance to technology- based workers?
As I said, there's been an anti-union propaganda campaign going on for the last four decades. As soon as the employer begins to cut wages or benefits or makes negative changes to working conditions, workers begin to talk union. That's what's happening in the Silicon Valley. Many of the workers need portability of benefits so they can easily change employers. We had portability of benefits for IATSE members for decades. Unionizing Silicon Valley workers can have the same advantage, to change jobs and maintain continuity for their benefits. They just have to organize all the employers in their field as the IATSE has.
In the live production arena, there is a serious issue regarding the constant exposure of workers such as lighting directors and operators to high sound pressure levels. OSHA has regulations regarding such exposure, but many in the industry will tell us that concerts are getting louder anyway. Tinnitus has become rampant among live music workers. Is IATSE aware of this issue, and what can a union do to help change the situation?
Many of our locals have safety committees and continuous safety training for their members. We take workplace health and safety very seriously.
Many U.S.-based theatrical producers are versioning and licensing productions for overseas markets. Disney is a big one, for instance. What steps can be taken to ensure that American theatre technicians participate in the global marketplace for theatrical and broadcast productions?
Rest assured that for every show these producers are mounting around the world, our pink-contract workers are employed to mount these productions. Our jurisdiction may be limited to North America, but our people work globally. I sit as a vice president of UNI, an international labor organization created in response to the huge changes going on in the global economy and because of the impact of technology on increasingly overlapping industries. We're 900 unions around the globe.
