6 Professionalisation & Collaborative Human Resource Management

We would like to see that music professionals are better equipped with hard knowledge to fulfill their jobs employers have less difficulty to recruit or retain skilled workforce in the Music Industry. Within three years, employers should have the ability to train better trained workforce, or to retain highly qualified personnel from the more competitive film industry. These necessary changes go hand in hand with 4 Market Building.

We would like to make sure that musicians, technicians and managers are well represented on both the employer and employee side of the Czech social dialogue, and actively seek help from EU-level partners. In Europe work-related legislation, funds for life-long learning and vocational training programs are increasingly managed in a social dialogue between employers, trade unions and the government. The problem of the creative industries is that because of the dominant freelancer and microenterprise structure, they are not well present in this dialogue. Musicians typically do not have a clear employer, and especially young composers and performers do not see the merits of unionization. Supporting professions, such as engineers, stage crew are not represented by anybody. This is very problematic, because there are really large funds available for increasing the quality and quantity of professional training, but the demands of the music industry never surface. The necessary changes go hand in hand with 10 Better Regulation & Taxation Of Music.

6.1 Program Considerations

The participants of the workshop could mainly relate to the beneficial changes in their organization to this program. They feel that they are overwhelmed, they are not able to recruit or train well-trained people for different tasks, and some people are forced to fulfill too many professional roles.

Some professional qualifications and skills are shared with other creative industries, particularly with the film industry and broadcasting. Because of the higher competitiveness of the Czech film industry, music enterprises find it difficult to retain staff in technical positions.

6.1.1 Impact On Artists, Professionals & Enterprises

Please give your personal example, if the change above would start, what positive impact you would expect to feel on your professional career or on your enterprise / organization?

Karolína Pavlova, founder of record label Label s.r.o: We are making the most of our recordings, not to mention mastering, in Germany. We had a very talented team in a Prague studio, but the time we went back to work with them again, they were involved with film post production work, because it pays so much better. But somehow the Germans manage to train good sound engineers and producers, and they keep them, too. etc etc etc.

Jan Svoboda, talent managers, Artist Management s.r.o: I could immediately hire a …., …., and a ….., but there is no reliable training for these roles in Czechia. So instead I have to start with five trainees, spend my time teaching them on the job, and praying that they will not leave to Austria when they have learned something. I only have three very senior colleagues who can instruct new recruits, but I need them most in the production work. I think that schools were invented for this. I would be very happy to offer stage for students, but I really cannot take on the job of teaching the basics, this is bad for everybody.

6.2 Social Dialogue

Strategic HR functions, such as measuring the quality & learning needs of the workforce, and designing life-long learning, improving compensation, social and pension benefits can only be achieved via national organization and representation in the social dialogue, because only very few organizations have HR professionals or an HR department.

In Europe, social partners play a very important role in setting working conditions and forming many economic policies of the EU and the Czech Republic. Musicians, technicians and managers must find ways to be fully represented in these forums, and seek ways to include the sectors vocational and life-learning needs in existing national and EU-funded programs.

6.3 Working Group on Music Business Professionalisation

Please give the following details if you would be ready to join this working group: Jan Svoboda, concert promoter, Concerts s.r.o, 17 years of concert promoting experience.

Mainly for training companies, employers, and very experienced professionals in artistic, technical or managerial roles, with at least 10-20 years of experience. International experience shows that training programs are most effective if employers are actively involved. This would be a suitable working group for experienced music entrepreneurs. Trade unions and performers associations would be more than welcome.

6.4 Indicators to Measure Change and Keep Direction in Professionalisation

6.4.1 Strategic indicators

  • Number of qualifications certified for formal training

  • Number of learners in certified formal training

  • Difficulty of paying bills: this is a standard relative wage indicator that is used across Europe.

Difficulty of Paying Bills - Comparison of Musicians And General Public

Figure 6.1: Difficulty of Paying Bills - Comparison of Musicians And General Public

6.4.2 Impact indicators

Impact indicators in this field could only be developed with the cooperation of employers. This may be a suitable task for the Working Group on Music Business Professionalisation.

6.4.3 Effect indicators

  • number of musicians represented in the Czech social dialogue

  • number of enterprises represented in the Czech social dialogue