THE Musicians Union has accused the Royal Edinburgh Military Tattoo organisers of “exploitation” after it emerged that it advertised for experienced musicians to play a run of 25 shows, but without pay.
The showcase military event, which is a cornerstone of the Edinburgh festivals now in its 69th year, attracts an average audience of more than 200,000 over its run on the esplanade of Edinburgh Castle every year.
Yet despite announcing a new six-figure sponsorship deal with Edinburgh Airport earlier this month, it emerged last week that in February the Tattoo advertised “an exciting opportunity for musicians to perform in a stage band” in exchange for accommodation and meals only.
The advert claimed that it was “opening up” the event – previously the preserve of military musicians and invited groups – with everyone over 18 welcome to apply.
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Although it claimed that “non-professionals” could put themselves forward it also stipulated musicians must able to perform to an “excellent standard” in front of more than 8000 people and be able to sight read.
Applicants were told though there were no fees experience of performing in a showband, pit orchestra or musical theatre band was “preferable”.
Though they were allowed to take on paid work, instructed to prioritise the Tattoo by making themselves available for rehearsals. Availability for an intense period of rehearsals starting on July 26 till August 2, as well as the 25 shows from August 3-24 was a requirement.
Though most musicians negotiate fees if performances are to be broadcast the engagement also involved the rights to be granted for worldwide TV coverage which the advert claimed was watched by 100 million watching the show on television around the world.
All volunteer musicians would be responsible for travel costs to Edinburgh, the advert added, though food and accommodation would be provided for those who didn’t live in the city “to encourage as many people to apply as possible”.
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The Musicians Union (MU) said it was “shocking” that such an established event should fail to pay for musicians of a professional standard.
“It is of grave concern for the MU and our members that such a prominent cultural event as the Royal Edinburgh Military Tattoo would be seeking the services of highly-skilled, experienced musicians to perform an intense 25 show run to audiences of more than 8000 people a night – and a global TV audience – for no fee,” Caroline Sewell, Scottish organiser at MU told the Sunday National.
“Our members rely on live performance as a vital source of income and the Royal Edinburgh Military Tattoo are sending out a dangerous message that this highly-skilled work is worth little to nothing – even as part of such a significant cultural event.
“Are other service providers such as staging and lighting companies expected to provide their services for the ‘opportunity’?
‘‘We doubt it. This is nothing short of exploitation and we would encourage our members and all musicians not to accept this kind of work.”
MU has long campaigned against free work for professionals through its Work Not Play campaign, calling on professional musicians not to work without being paid fair rates as it undermines the earning potential of fellow musicians.
Sewell added: “We urge the REMT in the strongest possible terms to fairly remunerate these musicians with the appropriate rates. We will be happy to advise them.”
A spokesperson for the Royal Edinburgh Military Tattoo said: “The Tattoo celebrates the best military and cultural traditions, welcoming performers from across the world in an exchange of skill, art and heritage.
“This year, in a move to widen the opportunities available to participate in the Tattoo, a not-for-profit organisation, individual musicians were invited to be part of this unique community on a voluntary basis.”
Exploitation of low-paid workers during the Edinburgh Festivals is becoming a growing concern for many unions and campaigners.
In July 2017 the Fair Fringe campaign was formed aiming to highlight the “unfair and unsafe” conditions expected of many fringe workers.
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