# CE2010087EN.01002701.xml

| 1.4.2010 | EN | Official Journal of the European Union | CE 87/27 |
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1.4.2010

EN

Official Journal of the European Union

CE 87/27

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Tuesday 10 March 2009Equal treatment and access for men and women in the performing arts

P6_TA(2009)0091

European Parliament resolution of 10 March 2009 on equality of treatment and access for men and women in the performing arts (2008/2182(INI))

2010/C 87 E/07

The European Parliament,

The European Parliament,

having regard to Directive 2002/73/EC of the European Parliament and of the Council of 23 September 2002 amending Council Directive 76/207/EEC on the implementation of the principle of equal treatment for men and women as regards access to employment, vocational training and promotion, and working conditions (1),

1

having regard to Council Directive 97/80/EC of 15 December 1997 on the burden of proof in cases of discrimination based on sex (2),

2

having regard to the Charter of Fundamental Rights of the European Union,

having regard to its resolutions of 7 June 2007 on the Social status of artists (3) and of 3 September 2008 on Equality between women and men - 2008 (4),

3

4

having regard to Rule 45 of its Rules of Procedure,

having regard to the report of the Committee on Women’s Rights and Gender Equality (A6-0003/2009),

| A. | whereas inequalities in career prospects and opportunities between women and men in the performing arts are very much present and persistent, |
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A.

whereas inequalities in career prospects and opportunities between women and men in the performing arts are very much present and persistent,

| B. | whereas the mechanisms which produce these gender inequalities should be seriously analysed, |
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B.

whereas the mechanisms which produce these gender inequalities should be seriously analysed,

| C. | whereas the principle of equality between men and women should apply to all players in the performing arts sector, in all disciplines, all types of structure (production, broadcasting and teaching) and all activities (artistic, technical and administrative), |
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C.

whereas the principle of equality between men and women should apply to all players in the performing arts sector, in all disciplines, all types of structure (production, broadcasting and teaching) and all activities (artistic, technical and administrative),

| D. | whereas men and women are not proportionally represented in the various jobs in the performing arts, and whereas this initial form of inequality is compounded by disparities in work and employment conditions and income, |
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D.

whereas men and women are not proportionally represented in the various jobs in the performing arts, and whereas this initial form of inequality is compounded by disparities in work and employment conditions and income,

| E. | whereas inequalities in access to decision-making posts, means of production and broadcast networks are apparent to varying degrees in all disciplines of the performing arts, |
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E.

whereas inequalities in access to decision-making posts, means of production and broadcast networks are apparent to varying degrees in all disciplines of the performing arts,

| F. | whereas the objective of equality in jobs in the performing arts presupposes the systematic opening-up of all jobs to both men and women, |
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F.

whereas the objective of equality in jobs in the performing arts presupposes the systematic opening-up of all jobs to both men and women,

| G. | whereas talent alone is not sufficient for the artistic quality of a performance or the success of a professional career, and whereas taking better account of the representation of men and women in jobs in the performing arts would have the effect of reinvigorating the sector, |
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G.

whereas talent alone is not sufficient for the artistic quality of a performance or the success of a professional career, and whereas taking better account of the representation of men and women in jobs in the performing arts would have the effect of reinvigorating the sector,

| H. | whereas, therefore, the current instances of segregation that still persist in the performing arts should be changed, not only by modernising and democratising the sector, but also by setting realistic equality goals which promote social justice, |
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H.

whereas, therefore, the current instances of segregation that still persist in the performing arts should be changed, not only by modernising and democratising the sector, but also by setting realistic equality goals which promote social justice,

| I. | whereas the existing inequalities leave skills and talents unexploited and are damaging to the artistic dynamism, influence and economic development of the sector, |
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I.

whereas the existing inequalities leave skills and talents unexploited and are damaging to the artistic dynamism, influence and economic development of the sector,

| J. | whereas persistent prejudices too often lead to discriminatory behaviour towards women in selection and appointment procedures and in work relations; whereas women often receive lower remuneration than men even if they have higher educational qualifications, a stronger interest in training and stronger networks, |
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J.

whereas persistent prejudices too often lead to discriminatory behaviour towards women in selection and appointment procedures and in work relations; whereas women often receive lower remuneration than men even if they have higher educational qualifications, a stronger interest in training and stronger networks,

| K. | whereas the obstacles to gender equality in this sector are particularly deep rooted and require specific steps to be taken to reduce inequalities, taking account also of the leverage effect which that may have on society as a whole, |
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K.

whereas the obstacles to gender equality in this sector are particularly deep rooted and require specific steps to be taken to reduce inequalities, taking account also of the leverage effect which that may have on society as a whole,

| L. | whereas there are great shortcomings as regards social protection for both men and women active in the arts and whereas income, particularly that of women, is adversely affected by this, |
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L.

whereas there are great shortcomings as regards social protection for both men and women active in the arts and whereas income, particularly that of women, is adversely affected by this,

| 1. | Underlines the scale and persistence of the inequalities between men and women in the performing arts and the impact that the unequal way in which the sector is organised can have on society as a whole, given the particular nature of its activities; |
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1.

Underlines the scale and persistence of the inequalities between men and women in the performing arts and the impact that the unequal way in which the sector is organised can have on society as a whole, given the particular nature of its activities;

| 2. | Underlines the vital need to promote and encourage access for women to all the artistic professions where they are still in the minority; |
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2.

Underlines the vital need to promote and encourage access for women to all the artistic professions where they are still in the minority;

| 3. | Notes that the proportion of women employed in artistic professions and in the official culture industry is only very small and that women are under-represented in positions of responsibility in cultural institutions and in academies and universities; |
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3.

Notes that the proportion of women employed in artistic professions and in the official culture industry is only very small and that women are under-represented in positions of responsibility in cultural institutions and in academies and universities;

| 4. | Recognises the need to take specific action in this sector to analyse the mechanisms and behaviour that produce these inequalities; |
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4.

Recognises the need to take specific action in this sector to analyse the mechanisms and behaviour that produce these inequalities;

| 5. | Notes that behaviour is transformed only when the two sexes work alongside each other, through the input of points of view, sensibilities, methods and interests which complement each other; |
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5.

Notes that behaviour is transformed only when the two sexes work alongside each other, through the input of points of view, sensibilities, methods and interests which complement each other;

| 6. | Emphasises the need to promote access for women to all the artistic professions and all jobs in the performing arts where they are in the minority and encourages the Member States to remove all obstacles to women accessing top positions in cultural institutions and in academies and universities; |
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6.

Emphasises the need to promote access for women to all the artistic professions and all jobs in the performing arts where they are in the minority and encourages the Member States to remove all obstacles to women accessing top positions in cultural institutions and in academies and universities;

| 7. | Stresses that discrimination against women holds back the development of the cultural sector by depriving it of talent and skills and notes that talent requires contact with the public in order to achieve recognition; |
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7.

Stresses that discrimination against women holds back the development of the cultural sector by depriving it of talent and skills and notes that talent requires contact with the public in order to achieve recognition;

| 8. | Calls for measures to be taken to increase the presence of women on the directors’ boards of institutions, in particular by promoting equality within cultural undertakings and institutions and professional organisations; |
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8.

Calls for measures to be taken to increase the presence of women on the directors’ boards of institutions, in particular by promoting equality within cultural undertakings and institutions and professional organisations;

| 9. | Calls on the actors in the field of culture to increase the presence of female creators and their works in programming, collections, publishing and consultation; |
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9.

Calls on the actors in the field of culture to increase the presence of female creators and their works in programming, collections, publishing and consultation;

| 10. | Notes that the progress achieved in gender equality will progressively allow the mixing of sexes in work teams, programme planning and professional meetings, which today often function according to a system of separation of the sexes which is difficult to reconcile with the demands of our society; |
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10.

Notes that the progress achieved in gender equality will progressively allow the mixing of sexes in work teams, programme planning and professional meetings, which today often function according to a system of separation of the sexes which is difficult to reconcile with the demands of our society;

| 11. | Stresses the importance of ensuring whenever possible that applications are anonymous and emphasises the need to continue using screened-off auditions for recruiting orchestra musicians, which has helped women join orchestras; |
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11.

Stresses the importance of ensuring whenever possible that applications are anonymous and emphasises the need to continue using screened-off auditions for recruiting orchestra musicians, which has helped women join orchestras;

| 12. | Calls on the Commission and the Member States to consider ensuring, without delay and as a first realistic step in the fight against inequality in the performing arts, that at least a third of the people in all branches in the sector are of the minority sex; |
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12.

Calls on the Commission and the Member States to consider ensuring, without delay and as a first realistic step in the fight against inequality in the performing arts, that at least a third of the people in all branches in the sector are of the minority sex;

| 13. | Encourages the Member States:






  (a) | to consider together with their cultural institutions how best to understand the mechanisms which produce inequalities so as to avoid as far as possible any discrimination on the basis of sex; |
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13.

Encourages the Member States:

(a)

to consider together with their cultural institutions how best to understand the mechanisms which produce inequalities so as to avoid as far as possible any discrimination on the basis of sex;

| (b) | to remove all obstacles to women accessing top positions in the most prestigious cultural institutions and organisations; |
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(b)

to remove all obstacles to women accessing top positions in the most prestigious cultural institutions and organisations;

| (c) | to introduce to the sector new ways of organising work, delegation of responsibilities and time management which take into account the personal-life constraints of women and men; |
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(c)

to introduce to the sector new ways of organising work, delegation of responsibilities and time management which take into account the personal-life constraints of women and men;

| (d) | to recognise that in this sector, where untypical hours, high mobility and job insecurity are the norm and are more destabilising for women, collective solutions should be found for providing childcare (e.g. opening of crèches in cultural undertakings with hours adapted to rehearsal and performance times); |
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(d)

to recognise that in this sector, where untypical hours, high mobility and job insecurity are the norm and are more destabilising for women, collective solutions should be found for providing childcare (e.g. opening of crèches in cultural undertakings with hours adapted to rehearsal and performance times);

| 14. | Reminds the cultural institutions of the vital need to translate into fact the democratic notion that equal work by men and women must be matched by identical pay, which, in the arts as in many other sectors, is still not the case; |
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14.

Reminds the cultural institutions of the vital need to translate into fact the democratic notion that equal work by men and women must be matched by identical pay, which, in the arts as in many other sectors, is still not the case;

| 15. | Encourages the Member States to produce comparative analyses of the current situation in the performing arts in the various countries of the Union, to draw up statistics in order to facilitate the design and implementation of common policies and to ensure that the progress achieved can be compared and measured; |
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15.

Encourages the Member States to produce comparative analyses of the current situation in the performing arts in the various countries of the Union, to draw up statistics in order to facilitate the design and implementation of common policies and to ensure that the progress achieved can be compared and measured;

| 16. | Calls on the Member States to improve the social situation of persons active in the arts and culture sector, taking account of the various employment relations involved, and to ensure better social protection; |
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16.

Calls on the Member States to improve the social situation of persons active in the arts and culture sector, taking account of the various employment relations involved, and to ensure better social protection;

| 17. | Instructs its President to forward this resolution to the Council and Commission and to the parliaments of the Member States. |
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17.

Instructs its President to forward this resolution to the Council and Commission and to the parliaments of the Member States.

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(1)  OJ L 269, 5.10.2002, p. 15.

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(2)  OJ L 14, 20.1.1998, p. 6.

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(3)  OJ C 125 E, 22.5.2008, p. 223.

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(4)  Texts adopted on that date, P6_TA(2008)0399.

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