SoundGirls.org: Shows and companies are more focused on transparency and trying to reach a wider pool of people, which is wonderful for both reducing the amount of nepotism and increasing the diversity of the industry. However, no system is perfect. I was talking with a friend and colleague not too long ago and he told me he was worried that he would get passed over for jobs because he was a white male. Which, honestly, is a completely legitimate concern.
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I have seen hiring bias firsthand and to some extent have even experienced it myself, and I believe it truly is an issue that deeply affects the film and theater technical industry. I’ll never forget applying for a scenic job and being denied simply because I had a Costume Design background on my resume, while a friend of mine with less experience in the scenic industry was given the job. Should I have condensed my resume to include only scenic jobs and taken out the costume internships I’ve taken, maybe… but the reality is that why does it matter? If I had a predominant lighting or sound background it would likely not have mattered at all. Obviously, there is much more cross-over between scenic and lighting, sound, and VMD, but I still to some extent feel that there is this barrier that pins costume makers and designers into an almost separate industry. I have also noticed to counter this costume designers and makers dislike and look down on the other sects of the industry. Costume designers are also paid far less than people in the scenic industry, simply because many people still have this misconception that most costume people just go around buying clothes. The reality is that this stereotype is deeply harmful and goes back to the reality that costume design was one of the only areas in that women could enter the technical film and theater industry. The industry needs change, and we need to stop stereotyping professions to make the industry a more inclusive space for everyone.
I love this article, and I wish every white man (and white cis-gender woman) would read this article. It walks the fine line of accusation and empathy beautifully. The author does a great job recognizing that while it is understandable that white men are suddenly worried about being passed over for a job, for non-white and/or non-male people, this has been the reality for decades (if not longer or always). I appreciate that the author acknowledges that while it is not a great thing that the industry (and others) have shifted to the other side of the “balance”, the end goal is equilibrium.
I really like her point that while other factors help get your foot in the door, someone’s skills and work ethic are what keep them there. I think and have even seen happen that someone in an oppressed group may come to doubt their abilities because they are led to believe (by society) that they got their position as the “diverse hire”.
There's nothing worse than over thinking about what got you the job and whether or not you're going to be good enough. I know I struggle so much with wanting to be great at my job and I agree with what the article said, it doesn't matter what got you that job, all that matters is you keep it. And I'll try to remember that when I apply for jobs that I think I have no qualifications for. I can't even describe why it sucks to get a job not based on merit, but to fill a diversity number. It's annoying to think that it's just because of that though. When the article made a point about how maybe cis white men will understand what it's like to not get hired because of their identity outside of their control, it felt a little like they were perpetuating more of the idea that it's all based on looks and again, not on the basis of their work.
Hiring bias is very real in theatre and arts in general, but especially in audio. While I was lucky to be working in predominantly female-lead organizations and crews, I also witnessed significant amounts of gender discrimination at the hands of these older technicians who just would not get with the times. Even on predominantly female crews with male heads, these men would just talk down to them and treat women as if they didn’t know how to do anything. While the industry is trying to change, that change is happening very slowly and only really being pushed by significant social movements. Most of the time it is white men who are going to be assumed competent for a job, who are going to be hired, who won’t have to prove themselves as soon as they walk onto a show. The culture is starting to change, but all theatre workers have to be pushing for diversity in order for the industry to understand.
I totally agree with the sentiment of being hired because of factors that are not your skills. I have been there, I’m sure a ton of other people have also been there and a ton of more people will feel like that at some point in their careers. Which sucks, but it’s also how things work. I think the only way to move forward is to do just that, do your best to work with what you have and take opportunities when you can. But even as I’m saying this, I know how much I struggle to come to terms with that at the end of the day – I am much more likely to be a diversity hire than because I am actually qualified to be there. On the bright side, I do see things starting to change. It is slow, but it is certainly happening, which I think is something to look forward to.
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